Neon

Her Private Hell (2026): The Most Pretentious Science Fiction Schlock of the 2020s

Posted on by Jack Drees

“Her Private Hell” is directed by Nicolas Winding-Refn (Drive, The Neon Demon) and stars Sophie Thatcher (Heretic, Companion), Charles Melton (Riverdale, Beef), Havana Rose Liu (Bottoms, Tuner), Kristine Froseth (How to Blow Up a Pipeline, Oh, Canada), Shioli Kutsuna (Deadpool 2, Invasion), Aoi Yamada (First Love, Perfect Days), Dougray Scott (Mission: Impossible 2, Taken 3), Diego Calva (Babylon, Bird Box Barcelona), and Hidetoshi Nishijima (Drive My Car, Shin Ultraman). This film is set in a futuristic, neon-lit, mist-covered metropolis. At this time, an entity referred to as the Leather Man is taking the lives of the women he comes across.

Courtesy of NEON – © Courtesy of NEON

Nicolas Winding-Refn is not my favorite filmmaker. In fact, I do not think his films are particularly my taste. But I do have a soft spot for his handling on visuals. He knows how to put together a good-looking project. I have seen “Drive” and “The Neon Demon” and even if I do not think the stories of those films are perfect, I do remember the projects for their vibes and visual splendor. When I saw Winding-Refn’s name attached to this project, I was intrigued. I was under the impression that he could deliver something worth my time.

If you were to ask me to describe “Her Private Hell” to you on a whim, I would probably stand before you in awkward silence. I say this despite watching the entire movie in a cinema and somehow not managing to fall asleep. I kind of wish I did however, because this movie was a nightmare to sit through. Part of me is struggling to describe what exactly “Her Private Hell” is in essence, but Hell is certainly what I found watching this.

Anybody remember “Megalopolis?” If you thought that film reeked of pretentiousness, then you are clearly not ready for “Her Private Hell.” This movie essentially uses its, admittedly, sometimes pleasing visual stimuli, to compensate for its lack of an engaging narrative. There are some decent action shots and well-lit scenes that stand out. Note that I said the visual stimuli is sometimes pleasing. There are quite a few moments in this movie in which I wanted to nearly avert my eyes altogether. I am by no means epileptic, but there was a point during this film where I am shocked I did not have a seizure. I do have sensitive ears however, and there is a moment where the music is cranked so loud that I was convinced that I was dragged into one of those modern bowling alleys that thinks it is more important to deck out the place in colorful lighting as opposed to, well, provide a good bowling experience. Safe to say, I nearly left this film with a headache.

Watching this movie evokes the feeling of entering a trendy art museum with tons of colorful lighting, neon, special effects. But as soon as I leave said art museum, those are the parts of the experience I will remember the most as opposed to the exhibits within. When it comes to anything in this movie involving story or characterization, there is nothing that sparks my interest until act 3. This film strikes a remarkable first impression with its grand score, heaping production value, and concept of a mind-bending future. I even thought I would end up listening to Pino Donaggio’s music in spare time. But part of me is apprehensive with that idea as it will most likely remind me of the complete and utter boredom I had to endure during this film’s slog of a runtime. The movie is not even two hours. Yet it certainly feels like it is just a bit longer than that.

This is one of the slowest movies I had to sit through all year. I do not mind a slow movie as long as the content within it keeps me engaged. “Her Private Hell” tries to do that on every level. The film evokes the cyberpunk feel of “Blade Runner,” a movie which is also pretty slow itself. But unlike that 1982 classic, “Her Private Hell” does not present a cohesive story or series of events that kept my eyes and ears onboard. Does the dialogue make up for it at least? Heck no! In fact, it only makes things ten times worse! I understand that this movie is not in our reality per se, but I was not able to immerse myself in this film’s reality that showcases some of the cheesiest sounding lines I remember hearing in a sci-fi flick. There’s nails on a chalkboard, and then there’s the incredibly sluggish delivery given by some of this film’s cast.

I would love to sit here and suggest that this movie makes up in its style for what it lacks in substance. Thankfully, it does in certain ways. Yet as I look back on my experience, I remember not being able to buy one or two sets in particular. There is one set in this movie that has tons of crystals in the background. It is almost as if someone on the crew looked at the Meta Crystal stage from “Super Smash Bros.” and decided to make a more colorful, three-dimensional space out of it. I was expecting Metal Mario to show up at some point to show everyone who’s boss. There is a particular polish to this set that reeks of artificiality. It gave me high school play or “Saturday Night Live” vibes.

Story-wise, the only time I found myself somewhat engaged is whenever the movie enters a relationship drama between two women and one man. I will not spoil much about it, but when it comes to both women in particular, I was intrigued as to what was going to happen to them in relation to this matter. I wish I could have felt this way through the rest of the film’s content, but this is proof that we cannot have nice things.

There is an antagonist in this film referred to as the Leather Man. The film convinces me its characters fear this individual, but it somehow lacks the ability to make me fear him in the same way, or feel for the characters as they are fearing him. It is the difference between watching something and experiencing something if that makes any sense. Never once did I look at the Leather Man and tremble or get a bad vibe. Even when the movie showcases him doing immoral or terrible things, I sat in my seat as still as can be, desperately waiting for the credits to roll.

If I were to watch this movie on mute, maybe I would have a higher opinion of it. “Her Private Hell” is, again, in certain ways, visually pleasing. But whenever I had to dredge through the film’s cringeworthy dialogue, ostentatious nature, and snoozefest of a story, it only drags that opinion off a cliff.

In the end, “Her Private Hell” is one of the worst movies of the year. It is pretentious crap to the tenth degree. The best films can make you feel all kinds of emotions. But “Her Private Hell” simply made me feel frustrated and tired. While I have respect for Nicolas Winding-Refn’s visual approach, this movie makes me wonder if his work is actually for me. Part of me thinks it is not. Does the cast do a good job with the material given to them? One could argue they do. For all I know, everything I watched was as the director intended. But it does not mean the material was worth my time. I am going to give “Her Private Hell” a 2/10.

“Her Private Hell” is now playing in select theaters. Tickets are available now.

Thanks for reading this review! I am happy to announce that the ninth episode of MOVIE REQUESTS is in the works and it is going to feature the funny and charismatic Amy Sedaris! You may know Sedaris from projects like “The Mandalorian,” “Strangers with Candy,” and “Elf!” For the first time in the series, I will be reviewing two movies from the same person! What do you think they are? Leave your predictions in the comments! The episode will be posted here on Flicknerd.com and on my YouTube channel, which by the way, please subscribe to my YouTube channel if you have not done so already! Stay for the episode coming SUNDAY, AUGUST 23RD!

My next review is going to be for “Haunted Heist!” Stay tuned! Also coming soon, I will be sharing my thoughts on “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 “Her Private Hell?” What did you think about it? Or, what is the most pretentious movie you recall seeing recently? Let me know down below! Scene Before is your click to the flicks!

I Love Boosters (2026): Boots Riley Delivers a Bright, Colorful, Mind-Freak of a Flick

Posted on by Jack Drees

“I Love Boosters” is written and directed by Boots Riley (Sorry to Bother You, I’m a Virgo) and stars Keke Palmer (Nope, Password), Naomi Ackie (The End of the F***ing World, Star Wars: The Rise of Skywalker), Taylour Paige (Zola, Ma Rainey’s Black Bottom), Poppy Liu (The Afterparty, Sunnyside), Eiza González (Ambulance, Baby Driver), LaKeith Stanfield (Sorry to Bother You, Get Out), Will Poulter (Guardians of the Galaxy Vol. 3, The Maze Runner), Don Cheadle (Space Jam: A New Legacy, Iron Man 2) and Demi Moore (The Substance, Ghost). This film is about a group of shoplifters who go after a fashion maven and try to sell their clothes at a lower price.

© 2026 – Neon

“I Love Boosters” is not my first exposure to Boots Riley’s filmography. While I missed it in the theater, I ended up checking out his film “Sorry to Bother You” after buying it on Blu-ray. I was fairly impressed with it. I thought it had good performances, clever writing, and an excellent use of color and production design. While “I Love Boosters” was not the biggest release over Memorial Day weekend, I will not deny that I was constantly exposed to its marketing, particularly one of its posters. Other than that, I went in with no memory of watching any trailers or hearing the film’s general premise. I heard interesting things about the movie, and I was onboard. I am delighted to say that this film is a unique cinematic experience that I will think about for a long time.

This is not my favorite film of 2026, but there is truly no picture that I have seen this year that provides an experience like this one. “I Love Boosters” is one of those movies that could have easily clashed its tones to such an unbelievable degree. But this picture is smarter than that. It finds a way to present likable heroes of their own story, a compelling antagonist in Christie Smith (Moore) whose mere existence brings forth diabolical charisma, all the while showcasing some of the most rad production elements I recall seeing in a film recently.

Courtesy of NEON – © Courtesy of NEON

Perhaps my favorite thing about “I Love Boosters” is that it is so vivid and colorful. Then again, given one of this film’s initial opponents at the box office, there could be some recency bias to take into account with this sentiment. This film came out the same weekend as “Star Wars: The Mandalorian and Grogu,” and not only do I think this is the better movie, but to my surprise, “The Mandalorian and Grogu” comes off as an occasional eyesore between its questionable color palette choices, dull presentation, and lack of flair. Within the first five minutes of “I Love Boosters,” I thought I was on drugs. This film’s emphasis on color is some of the finest I have ever seen. It has a look that belongs on a children’s TV program but perfectly blends itself into a mature story. Everything from the many eye-popping outfits that the characters don on screen… To the multitude of interiors that sometimes answer the question, “What if an M&M were a floor or a wall?”… Even seeing the different colors on the characters’ hair make me think that in another universe that this movie would be selling action figures like hotcakes.

Speaking of things that you have to see to believe, this film’s editing is jaw-dropping. This film moves fast, and boy am I not even close to becoming furious. If anything, the editing makes for a blessing and a curse. It keeps the movie from being boring, but the film is also so quick that it makes me wonder if I missed something important. Ah well, I plan to watch this a second time regardless.

Another favorite thing about this film is something I cannot see… The music. The Tune-Yards composed an original score for this film, and boy does it score. They previously scored another Boots Riley title, “Sorry to Bother You,” so it is clear he likes their approach, and I can see why, because much like some of John Williams’ memorable tracks, the score is almost its own character. The year is still young, but I could see this being my favorite score of 2026 by the end of it. I listened to this film’s theme several times since my screening. When I look at the screen and I see characters played by Keke Palmer, Naomi Ackie, and Taylour Paige, lingering in the background is a supporting role that can best be described as a sick beat.

While not exactly as good, I find “I Love Boosters” to be this year’s “Everything Everywhere All at Once.” It is a film that runs at one of the most breakneck paces imaginable. It is all killer, no filler. There is a perfect blend of comedy and drama. In fact, speaking of that, it is tough to really put this film in a box and give it a specific genre. It is not that the film does not know what it wants to be. It is that it wants to be something so unique, so fresh, something that even as a jaded moviegoer, I cannot recall ever seeing in my life. At the same time though, that probably makes this film slightly harder to recommend to certain people. I feel like Marty McFly in “Back to the Future,” part of me is ready to say to a collective audience that they might “not be ready for that yet.”

But if I were to recommend “I Love Boosters” to somebody, it would probably have to be someone who likes stories about people rising up against the bigger man. Perhaps someone who does not really feel the need to take everything so seriously. There is quite a bit of absurdity in this film. Yet in the context of its universe, characters, and vibes, all of the absurdity is seamless and makes the movie an animal of its own. As for myself, I cannot wait to watch this movie again. Not just because I had a blast watching it, but as I suggested before, this film flies by. I have a feeling I missed something cool the first time around. There are probably one or two memorable lines or moments that flew over my head that are probably going to land better the second, third, maybe fourth time I watch this.

In the end, it is almost impossible to describe “I Love Boosters” without using terms like wild or zany or nonstop. This is an experience. Sadly, with this film opening up against “Star Wars,” it kind of hurt its box office potential from the start. Then again, if somebody pitched this movie to me and I happened to be an executive, I think it would be a hard sell no matter what. It is debatable as to whether the characters are actually “heroes.” Then again, it is possibly true that everyone sees themselves as the hero of their own story. The concept of this film is so unique that it is difficult, at least to me, to compare this film to many others. But the fact is that this film is worth watching at least once. It has a fantastic cast lead by the always charismatic Keke Palmer. Its look is going to make for a fantastic demo down the line if I end up buying a new television or projector. And boy, is that theme song still stuck in my head. I am going to give “I Love Boosters” a 7/10.

“I Love Boosters” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! This is a bit of a short-notice announcement, but on SATURDAY, JUNE 20TH, I will be dropping the next episode of Movie Requests! This one is going to feature “The Wall” and “Talking Dead” host Chris Hardwick. You can hear his suggestion by clicking the video above! What do you think it is? If you want to find out what film he asked me to review, as well as my thoughts on it, you can watch the review right here on Flicknerd.com, or you can subscribe to my YouTube channel!

My next review is going to be for “Backrooms.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Masters of the Universe,” “Another World,” “The Breadwinner,” “Disclosure Day,” and “Toy Story 5!” 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 “I Love Boosters?” What did you think about it? Or, what is one of the wildest films you recall watching recently? Let me know down below! Scene Before is your click to the flicks!

Exit 8 (2025): A Subway Snooze

Posted on by Jack Drees

© Neon

“Exit 8” is directed by Genki Kawamura (A Hundred Flowers, Duality) and stars Kazunari Ninomiya (Letters from Iwo Jima, Assassination Classroom), Yamato Kochi (Vivant, Brothers in Arms), Naru Asanuma (A Calm Sea and Beautiful Days with You, The Night After the Divorce), Kotone Hanase (Suzume, The Parades), and Nana Komatsu (Silence, The World of Kanako). This film follows a man who finds himself trapped in a subway station and must complete a puzzling mission in order to escape.

Turns out “The Super Mario Galaxy Movie” is not the only film coming out in April that is based on a video game, because “Exit 8” just so happens to originate from the same medium. The two games, and by extension, films, are quite different. “Mario” is much more family-friendly and adventurous, while “Exit 8” takes a more intimate and scarier route. The differences also happen to extend to my relationship with the games. While I have played many of “Mario’s” titles from different eras, I have not once sat down and played “The Exit 8.” To be fair though, the game is a somewhat recent indie title and way less popular than “Mario.”

Although my ability to enjoy a film should not be factored by how popular or recognizable the concept happens to be. As a wise woman from an ESurance commercial once said, “That’s not how it works. That’s not how any of this works.” Speaking of not working, I wish that were not the case for this movie, because it is one of the biggest bores I have seen all year.

I am not going to deny that “Exit 8” has potential. In fact, once I heard the concept, it gave me a weird sense of nostalgia. I am at the point now that I drive to work, partially due to the public transit in Boston not running overnight. But when I was in college, I took public transit everywhere, including the subway. As someone who has taken the subway so frequently, I appreciate the filmmakers’ intentions to make the concept scary. Because when I was taking it in Boston, it sometimes was. You are riding a germ-infested car with a bunch of strangers that sometimes squeaks like there is no tomorrow. Shoutout to the Green Line for reminding me of why I hate having sensitive ears, especially when it stops at Boylston and Government Center.

This movie, to my lack of surprise, dives into some common annoyances of riding the subway. The crowds… The occasional lack of cell service… The noise… The film starts in a clever way by showing the world through the protagonist’s eyes and ears. We see him riding the subway, and when he has his headphones off, he hears a baby crying, he does nothing about it. Though someone else, who is fed up with the noise, is telling the mother how annoyed he is. Of course, there is nothing the baby can do about it, and the mother, who has way more tact than she should, apologizes to the irritated rider.

The movie sometimes succeeds when it comes to atmosphere. The subway, despite extending quite far, does feel kind of otherworldly between the loud trains, strange halls, and depending on the case, large crowds. This movie occasionally goes beyond the everyday eeriness of the subway by implementing unusual characters, chilling sound effects, and some occasionally spooky effects. There is one moment involving eyes on posters that I will remember for some time.

That said, this movie becomes dull very easily. In a way, I almost felt as trapped as this film’s own protagonist. The film does a good job at showing how much the protagonist learns in a specific period of time, but it does not change the fact that the film feels as repetitive as can be. I think this could have been paced a lot better as a short film rather than a feature. There is a decent movie in here somewhere between the suspense and immersion factors, but very rarely did I find the story intriguing or the scares all that horrifying. When I watch a horror movie and I am not scared, that is a problem.

In fact, after watching this movie, I was searching its Wikipedia page, and I found out that the director, Genki Kawamura, ended up cutting a scene that he deemed too scary to show. I really want to see that scene now. At best, this movie is mildly eerie, but I cannot name a single moment during the runtime that had me pacing a just a little. I hate saying this, especially as someone who has taken the subway on a regular basis, so I have come across my share of interesting characters and sights. Although the more I think about it, I wonder if that is part of why I am not so scared by this movie. I have taken the subway so regularly back in the day, and I still take it sometimes today, to the point where what could have once been strange is now familiar or expected.

Granted, while this film does ground itself when it comes to showcasing the horrors of the subway, it also tries to blend in some more fantastical elements as well. I am not saying those could not have worked, but I do wish they were improved.

Also, I have no idea how many other people are going to complain about this, but the dialogue in this film irked me. I could only hear The Lost Man (Ninomaya) repeat the same things over and over so many times. I get that repeating his words is perhaps his way of understanding his surroundings, but as a viewer, it only makes every scene featuring said character feel almost the same as the last. If there is any variety to be found, it feels scarce. I found myself surprisingly frustrated with this character’s progression as he tries to escape.

“Exit 8” is kind of like “Groundhog Day” or “Edge of Tomorrow” as we constantly see the Lost Man doing the same things over and over and trying to complete a major task in the process. Maybe the movie was trying its best to suck me into the atmosphere of the subway, but if anything I found myself more annoyed that I had to go through various parts of the movie in real time. Or in this movie’s case, as real as time can be in its specific context. On the other hand, “Edge of Tomorrow” will sometimes trim out the fat while not removing anything essential from the story. If I found “Exit 8’s” short list of characters more intriguing, this would be moot. But I did not, so here I am, complaining like a madman. I wish I cared more about the Lost Man’s personal dilemma regarding his love interest. I wish I cared more about the Boy. I wish I cared more about everyone in this movie. Unfortunately, however, I cared so little to the point where I cannot see myself watching this movie ever again.

In the end, I am surprised to say this… If I were to recommend a video game-based movie to watch in theaters right now, I would shockingly pick “The Super Mario Galaxy Movie.” Yes, I have complaints with the movie, but I feel like it did a slightly better job at accomplishing its goals, even with a lack of story. “Exit 8” has a story, but I cannot say it is the best story. Despite being a horror flick, I found nothing about it that scary. I did find it atmospheric. It did remind me of times when I would walk through long subway tunnels or find myself in a sea of people on the Orange Line riding through Boston. The acting is not bad either. I have no problem with the cast, but I wish they were given superior material to work with. I am probably in the minority when it comes to my opinion. Both critics and audiences seem to be raving about the film over on Rotten Tomatoes. This film is not a complete trainwreck, but if I were ever presented with the opportunity to watch “Exit 8” a second time, I could see myself going to the next stop. I am going to give “Exit 8” a 4/10.

“Exit 8” is now playing in theaters. Tickets are available now.

Thanks for reading this review! Special reminder that my next episode of Movie Requests drops Monday, May 4th! That is Star Wars Day! Therefore, it is only fitting that Katee Sackhoff, known for her work as Bo-Katan Kryze, will end up being the guest of the next episode! You can catch the episode here on Flicknerd.com, or you can subscribe to my YouTube channel to see it as soon as possible!

And if you want to check out my last episode of Movie Requests featuring “Avatar” actor Joel David Moore, you can click the link above and watch it for yourself. If you enjoy the video, leave a like! It helps me out!

My next review is going to be for “Normal.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Lorne” and “Michael,” which sounds like a gigantic missed opportunity to form the next “Barbenheimer.” LORNE MICHAEL! Come on, guys! 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 “Exit 8?” What did you think about it? Or, what is your favorite movie involving trains? If it is not “Spider-Man 2,” we need to talk. Let me know down below! Scene Before is your click to the flicks!

EPiC: Elvis Presley in Concert (2025): Baz Luhrmann’s Big, Loud, and Ambitious Showcase of the King of Rock and Roll

Posted on by Jack Drees

“EPiC: Elvis Presley in Conert” is directed by Baz Luhrmann and is a documentary about the titular musician, following portions of his life through pre-existing footage, a good chunk of which had not yet been witnessed by the public.

Back in 2022, I reviewed the “Elvis” biopic. I waited a bit after its premiere to check it out. Not because it was off my radar. I just had other people in my life who also had interest in checking it out so I figured I’d wait so I could watch it with them. Safe to say, it was not worth the wait. While there are worse movies I saw in 2022 like “Morbius,” I do not know if there is a movie that left me with a headache like the one “Elvis” did. And it is not that I do not like Elvis’ music. After seeing the film, I think I can come to the conclusion that Baz Luhrmann’s filmmaking style is not my tempo. I have vivid memories of watching “Romeo + Juliet” in middle school, and immediately getting the sense that the movie stole my soul. Since watching “Elvis,” I have since checked out Luhrmann’s “Moulin Rouge!,” which felt like a case of style over substance.

So far, Luhrmann’s filmography has left me all but impressed, which is why I was somewhat nervous going into “Elvis Presley in Concert.” That said, this is a documentary and not a fictional narrative. Perhaps this could allow me to see a different side of Baz Luhrmann. Much like Luhrmann’s past films, “Elvis Presley in Concert” comes with a distinct, clear style. Although unlike “Elvis,” I occasionally found myself having a good time with this film.

“Elvis Presley in Concert” gives you what you came for and more. I say “more” both as a positive and a negative. The movie is part documentary, part dive into Elvis’s career, and part concert showcase. Not all of it is perfect, but let’s start with the good.

If you came for a concert film, this absolutely delivers. If you are a die-hard Elvis fan, this is automatically going to leave you impressed. This is probably the closest one can get to experiencing Elvis in concert today. I had the privilege of watching “Elvis Presley in Concert” on a true IMAX screen via its 4K laser projection system. While the film is not quite “full IMAX,” it comes very close at times. In fact, at my screening, I noticed the way the film was formatted and essentially all of the framing was off center. All the scenes that were in scope widescreen had a taller black bar on the top than the bottom. There are scenes that are a bit taller-looking that essentially have no black bar on the bottom of the screen, but a black bar on the top. It is an odd choice, but I had the sense Luhrmann wanted to make the audience believe certain people in the film were standing on my auditorium’s ground. You see a lot of movies nowadays that advertise themselves as “Filmed for IMAX.” While the footage that makes up “Elvis Presley in Concert” was filmed long before IMAX was associated with Hollywood fare, this is a film that feels like it was designed for IMAX first. This may as well sound like a negative… I feel that watching this film in IMAX almost ruins every other possible way I could see it.

That said, while the formatting of this film is perhaps best experienced in an IMAX theater, the sound mix is probably going to translate well across various formats, whether you are watching it in the cinema or at home. From the very beginning, this film is booming. The first couple of minutes unleash a sense of electricity beyond comprehension. Certain performance sequences like those for “Burning Love” or “Suspicious Minds” gave me the sense that I was part of the audience in Vegas, some of whom happened to be women screaming their lungs out. I could really tell some of the audience enjoyed the film too, because during my screening, some people were clapping to a performance here or there. Granted, this movie did not garner the same attention that the “Taylor Swift: The Eras Tour” documentary did a couple years back. There were no screaming youngsters in my audience, which, frankly, despite being in my 20s, I am okay with. I do not mind loud movies, but my sensitive ears can only take so much.

Another monumental technical achievement this film boasts is its clean editing. This is some of the craziest film editing I have seen in recent memory. Not only does the edit blend tons of archival clips together beautifully, along with one engaging soundbite after another, but all of the pre-existing material makes for a fascinating story about Elvis himself, all the while saving room for the concert experience that many people likely came to see. It is amazing how much this film was able to tell in just a short amount of time. That said, much like Luhrmann’s “Elvis” biopic, the film is almost too fast. The film tells a lot of information in a short amount of time. In fact, I was somewhat surprised to find out that the film was only an hour and 36 minutes. As the movie ended, I asked myself, “That’s it?” But apparently it was. This movie’s supersonic pace, which sometimes works, made it somewhat difficult to digest every little detail. Maybe upon a second watch I will appreciate certain parts more, but there are a handful of bits highlighting Elvis’s career and personal life that had me less entertained compared to other scenes.

The pacing issues were especially noticeable towards the beginning, which does not start off bad. In fact, the first moment of the movie features Presley walking onstage and introducing himself to the crowd. What follows is a lot less concert material than I anticipated and a lot more backstory material. I get that this film is a documentary, but given how the film has “concert” in the title, I found it to take a bit of an odd turn early on in the runtime. It’s around the first twenty minutes or so, and perhaps another point or two, that the movie spends so much time being one thing that it nearly forgets to be something else.

Do not get me wrong, I was entertained. I like the movie as a whole, but at times, it feels like it has ADHD. It is too fast and almost unfocused. Technically speaking, it is astounding at times. But I am not sure if this film is going to have much replay value for me down the line, even in the cinema again despite how immersed I happened to be.

In the end, “EPiC: Elvis Presley in Concert” is undoubtedly a good time, even with its flaws, which do not take much away from an overall entertaining hour and a half. I wonder how well this film is going to play with people who are not Elvis fans. Granted, I am not a hardcore Elvis fanatic myself, though I do like some of his songs. I think even if you are not an Elvis fan, there is something to be said about how well put together this movie is. The concert scenes are a lot of fun. The footage feels seamless at times. The pacing is a bit iffy, but forgivable. That said, I think if you are an Elvis Presley lover, this will be your jam. If you are an Elvis Presley casual, I think there is something to appreciate here. I liked this film more than the “Elvis” biopic, so if anything, I consider that win, especially considering both projects were helmed by the same filmmaker. I am going to give “EPiC: Elvis Presley in Concert” a 7/10.

“EPiC: Elvis Presley in Concert” is now playing in theaters. Tickets are available now.

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

Thanks for reading this review! My next review is going to be for “Send Help.” I know I am a bit late to the party on this film. I was going to go see it during an early access screening, but I ended up skipping it as I felt somewhat sick beforehand. Cut to the weekend the film came out… I was in New York. Then things did not end there as I could not make time within the next couple of weeks. Blog projects got in the way, weather got in the way, other movies got in the way, but no longer! Stay tuned for that review, which will be dropping soon! Also, coming soon, I will be sharing my thoughts on “The Bride!” and “Hoppers.”

And I will once again remind everyone, if you have not checked it out yet, please watch the first ever episode of “Movie Requests,” it is a brand new review series where I talk about movies requested by some familiar faces. I just talked about “The Idiots,” which was requested by Bryce Dallas Howard. You can watch the video above to hear my thoughts on the film. Also, if you enjoy the video, please leave a like and subscribe to my YouTube channel!

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 “EPiC: Elvis Presley in Concert?” What did you think about it? Or, since the topic is relevant, have you seen the “Elvis” biopic? Am I a monumental moron for disliking it? Leave your thoughts down below! Scene Before is your click to the flicks!

Arco (2025): Back to the Future – Reimagined for the 2020s

Posted on by Jack Drees

Before we begin this review of “Arco,” I would just like to remind everyone that “Movie Requests” begins this Saturday, February 28th! “Movie Requests” is my upcoming film review series where I ask prominent people to request films for me to talk about, and I give my thoughts on their suggestion. A new promo is out now for the first episode, featuring Bryce Dallas Howard! You can watch it by clicking the video below!

And if you want to see the new episode when it drops, please subscribe to my YouTube channel! Otherwise, if you are following Scene Before with an email or WordPress account, you can be notified shortly after the video is uploaded! Now, on with the review!

“Arco” is directed by Ugo Bienvenu and Gilles Cazaux and stars Swann Arlaud (By the Grace of God, Anatomy of a Fall), Alma Jodorowsky (Blue is the Warmest Colour, Kids in Love), Margot Ringard Oldra (Fortune de France, Along Came Love), Oscar Tresanini (La rebelle, les aventures de la jeune George Sand, Mini-Court), Vincent Macaigne (Diary of a Fleeting Affair, Cicadas), Louis Garrel (Little Women, A Faithful Man), William Lebghil (Soda, Some Like it Veiled), and Oxmo Puccino (In Your Dreams, Athena). This film is set in the future and follows a young girl who sees a boy fall from the sky, only to find out this boy has the ability to travel through time. The two do what they can to help each other, while trying to get the boy back to his own time.

Just an FYI before we get on with the rest of this review. This is a French movie. Nevertheless, I watched the movie in English. I bring this up because when I review movies, I always attempt to watch them in their original language to get the most authentic experience possible. Even so, I watched the film in English as the film did not appear to be playing anywhere near me in French. Just know that I will not have any concrete thoughts on the film’s original cast. That said, the cast of the English version of the film did a good job. I do not really have any complaints. If you watch the film in English, and chances are you will if you live in the U.S. like me, I think you will have a solid experience.

“Arco” is one of those films where I went in nearly as blind as possible. I knew about the film a couple months before its release. Having followed Natalie Portman on Instagram, I was made aware that she was in the English version. I have also been made aware about the film receiving noticeably positive reviews. Having seen the film myself, those positive reviews were justified. This is not my favorite animated film of 2025. But it is a finely crafted remix on a familiar time travel concept.

Some people believe that they do not make movies like they used to. While everyone’s definition of this phrase may vary, “Arco” feels like an answer to that philosophy for those looking for something like they got in the 1980s. “Arco” is essentially “Back to the Future” for a new generation. Not only because the plot heavily involves time travel and someone’s intentions to get back to their specific time following a mishap. But the film also captures a specific kind of wonder that movies like “Back to the Future” can easily evoke. During my earliest viewings of “Back to the Future,” which has now become one of my all time favorite films, I was always marveled by everything that went into the climax of that film between the actors’ line delivery, the sound mix, the lightning effects, and Alan Silvestri’s iconic score. If I watched “Arco” as a child, perhaps even as a teenager, it could have inspired me to pursue filmmaking or animation. It is a film that comes with a concept that not only sounds clever, but plays really well on screen. Even the method of time travel feels like a sibling of “Back to the Future.” If you have seen “Back to the Future,” you may recall Doc saying he turned a Delorean into a time machine to “do it with some style.” Much like that 1985 classic, there is a sense of style brought to the time travel in “Arco,” where we see characters utilize such a fantastical concept through rainbows. I cannot come up with many cooler ways to travel through time more magical than that.

This film is the feature-length debut from Ugo Bienvenu, and I think anyone’s efforts should be commended should they direct a feature film for the first time. Although Bienvenu’s in particular had me perplexed, because throughout the film, I was under the impression I was watching the work of a longtime veteran. The 2D animation style feels very Studio Ghibli-like with some of the film’s occasionally vivid landscapes, strong colors, and cozy locations. If you told me that this film were being directed by Hayao Miyazaki, chances are I could believe you. If this film were live-action, based on all the 1980s movies talk from before, you could have convinced me Steven Spielberg put something like this together. That said, if you want to get technical, Steven Spielberg has done an animated film before, specifically “The Adventures of Tin-Tin,” but these films do not quite feel the same. I enjoyed that movie, but still.

As a story, “Arco” is incredibly tight. Clocking in just short of an hour and a half, “Arco” delivers a simple concept met with brilliant execution. I stared at the screen in awe of the vision that was on display. Unlike some time travel stories, which are set close to the time the story comes out, this film takes place, as of this review’s publication date, entirely in the future. This allows us not only to play around with the idea of people traveling through time, but simultaneously tap into the continued evolution of technology and the earth’s climate. In the case of addressing climate change, I found “Arco” to come off as less obvious in its messaging than “The Wild Robot” and “Flow” did when those two films came out in 2024. Maybe that is just a me thing. I would not be surprised to find out that some viewers feel different when it comes to that matter. That said, the film not only does a good job at entertaining, but also serves as a reminder to take care of the planet.

Much like “Back to the Future,” “Arco” is a film that I can see playing really well with families. In fact, I think some parents may be more comfortable showing “Arco” to their children considering it has significantly less foul language. The film may be animated, which some adults may find to be a turnoff, but “Arco” often feels more Pixar or Studio Ghibli-like rather than something out of the more obnoxious Illumination. The movie is bright and colorful. Heck, any movie heavily involving rainbows should be. But there is a perfect balance that makes the film feel grounded yet imaginative. The film is likely going to entertain younger viewers while also delivering important messages. “Arco” seems to indicate that no matter what time you live in, everyone has their own problems. Nobody’s perfect.

That said, having seen a lot of movies, it is tough to argue that “Arco” is, by definition, original. If anything, the film reminds me a lot of “Colossal,” which puts a completely unique spin on the classic monster movie. In fact, that movie was even described by its own director to be “the cheapest ‘Godzilla’ movie ever.” Despite maintaining a noticeable degree of freshness, “Arco” does a good job at reminding me of some of the great movies I watched in the past that appeal to multiple age groups like “E.T.” or “Spirited Away.” It makes me want to go back and revisit those movies. Yet at the same time, I can see “Arco” having some replay value sometime in the future. It is hard to say that “Arco” is my favorite animated film of 2025, but it is one that gives me great joy the more I think about it.

In the end, “Arco” is a swell time travel flick that brings some originality to the table while also delivering vibes that are familiar from some of the most beloved films of all time. I keep comparing “Arco” to “Back to the Future,” partially because both movies involve time travel, but because they both handle such a concept in a somewhat similar fashion. Not just in terms of structure, but also quality. Is “Arco” as good as “Back to the Future?” Honestly, no. “Arco’s” technical aspects could arguably age better, but as a story, “Back to the Future” is superior. That said, if you are looking for something that delivers on entertainment and commentary, “Arco” is a solid pick. I am going to give “Arco” a 7/10.

“Arco” is now playing in select theaters, and as of this publication, is available to preorder on VOD.

Thanks for reading this review! My next review is going to be for “Solo Mio.” Stay tuned! Also, coming soon, look forward to my thoughts on “GOAT” and “EPIC: Elvis Presley in Concert.” 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! And one last reminder, please subscribe to my YouTube channel to catch my latest videos, including the upcoming series “Movie Requests,” which begins this Saturday, February 28th! I want to know, did you see “Arco?” What did you think about it? Or, what is your favorite animated film of 2025? For me, I would have to go with “Scarlet.” I thought it a was clever, fantastical concept done with excellence! Let me know down below! Scene Before is your click to the flicks!

The Secret Agent (2025): Wagner Moura Excels as the Lead in This Drawn Out Thriller

Posted on by Jack Drees

“The Secret Agent” is directed by Kleber Mendonça Filho (Aquarius, Bacurau) and stars Wagner Moura (Puss in Boots: The Last Wish, Narcos), Carlos Francisco (Bacurau, A Strange Path), Tânia Maria (Bacurau), Robério Diógenes (As Tentações do Irmão Sebastião, Onde Anda Você), Alice Carvalho (New Bandits, Love is a Knife), Gabriel Leone (Dom, Your Heart), Maria Fernanda Cândido (My Hindu Friend, The Traitor), Hermila Guedes (Second Call, New Bandits), Isabél Zuaa (Good Manners, Joaquim), and Udo Kier (Blade, Don’t Worry, He Won’t Get Far on Foot). This film, which is set towards the end of Brazil’s military dictatorship, is about a technology expert who returns to his hometown seeking peace, only to realize it may not be the right place take refuge.

If you read my review for “No Other Choice,” you’d know that my experience with Korean cinema is fairly limited. But at least when it comes to that nation’s output of movies, I at least knew who Park Chan-wook was prior to checking out his latest flick. I have a similar situation with Brazilian cinema, only worse. While some of this film’s cast has achieved international fame, I could not honestly say I recognized their faces going in. I had no idea who the director, Kleber Mendonça Filho, was before watching this movie. The only reason why I checked out this film is because of all the praise it appeared to be getting ahead of awards season. I never watched a trailer. I never saw a commercial. In fact, I went to see the film at one of the two theaters in my area playing it at the time. Was it worth the trip? I’d say so. The film is not bad, but it is far from my favorite of the year.

“The Secret Agent” is a great watch, but not the easiest watch for a number of reasons. Although one can say the film is rewarding if you can sit through all of it. The movie draws itself out pretty heavily and several scenes go on for what can best be described as a snail’s pace. Films like “Blade Runner” prove that a story can move slowly and still keep you hooked, therefore making the pace come off as a positive. “The Secret Agent’s” pacing often had me checking the time, and it made me less invested in the supporting characters than I probably should have been. However, that is not to say I disliked any of them.

On the surface, “The Secret Agent” is a solid narrative. But it is one that is probably at its best at the beginning and the end. The middle is where the film’s slowest and least engaging points tend to come up. The film starts off with a great hook, introduces a neat concept, and lets us get to know some admirable characters. The end, while not larger than life, is pretty killer with very little filler. The middle is by no means a bad watch, but the film’s highlights for me happen before and after said point. People often talk about how some audiences these days have very short attention spans, and I wonder, fairly or unfairly, how this movie would sit with people who are watching at home for the first time, or looking at their phones. When people think of movies that are best experienced in a theater, people will often lean to adventure, fantasy, or sci-fi blockbusters. “The Secret Agent” is a bit more grounded, but like those more expensive and flashy pictures, I think this film crafts a unique cinematic experience of its own.

“The Secret Agent” oozes an atmosphere like no other. Again, this film is slow, but if anything, it allowed me to carefully take in just about each scene one at a time. This film is often quiet, but it only allows me to suck myself into its environments. The film starts off in the middle of a desert. With the drawn out editing and lack of music, part of me felt like I was stranded in the middle of that desert. Part of the atmosphere is also highlighted by the production design. This film is set in 1977, so it felt classy to see a bunch of old cars in every other frame.

The cinematography, perfectly executed by Evgenia Alexandrova, is also a standout. Granted, going back to the desert at the beginning, having decent locations definitely helps. But each frame allowed those locations to shine. There is also a really cool POV shot involving blood towards the end of the film that blew me away. Each frame also weirdly goes against the film’s vibe. Every second of the film involves our protagonist trying to seek safety. Yet at the same time, nearly all the film’s frames feel bright and colorful. I am not mad about it though. The film looks incredibly picturesque. Another weird technical choice if you had to ask me involves the film’s music. For the most part, I thought the film had decent music choices that matched every scene. Then in the climax, there is a song choice that is oddly happy sounding for a chase sequence where our protagonist could die at any point. To me, this almost rubbed me the wrong way. If I were in charge, I would have picked a different song. Then again, the “Challengers” score left me with a headache and people seem to love those tunes, so what do I know?

The standouts to this film do not just extend to the technological elements, but little things like dialogue also pack a punch. “The Secret Agent” may not be my favorite screenplay of the year, but it most definitely has one of my favorite lines. When Marcelo says “I’d kill him with a hammer,” I felt that. There are few, if any lines of dialogue from a film released this year, that sent a chill down my spine like that one.

Also, Wagner Moura is fantastic in this movie. Moura is fairly well known internationally through the series “Narcos,” which I have not watched. Although I had the tremendous pleasure of seeing him play an infinitely haunting antagonist, specifically Death in “Puss in Boots: The Last Wish.” I love him in that movie, but “The Secret Agent” will be remembered as the film that made know his name. I cannot wait to see what roles he takes on next. Though this is no way of suggesting the supporting cast did not do a good job themselves. The two biggest MVPs in the supporting cast for me are Elza (Tânia Maria), whose charm knows no bounds, and young Fernando (Enzo Nunes) whose adorableness leaps off the screen.

In the end, I know there is a bit of hype going around for “The Secret Agent,” but frankly, I had the same reaction coming out of this movie that I had for “Sinners” and “Weapons.” I know both of those movies have their fans, and they are undoubtedly well made. If you read my reviews for those movies, you would know that I like both of them. “The Secret Agent” is not an exception to the rule. But I am not chomping at the bit to get an immediate second viewing of “The Secret Agent.” I would watch the film a second time, considering how much I liked the characters and production elements from the first watch. But I have personally seen more appealing films this year. I can see “The Secret Agent” winning a lot of people over, to the point where it is their film of the year. For me, it is a good watch, and I will leave it at that for now. I may revisit it in the future. I may not. Only time will tell. I am going to give “The Secret Agent” a 7/10.

“The Secret Agent” is now playing in select theaters. Tickets are available now.

Thanks for reading this review! My next reviews are going to be for “Hamnet” and “Avatar: Fire and Ash!” 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 “The Secret Agent?” What did you think about it? Or, what is a film released this year that you like but also think is a tad overhyped? Let me know down below! Scene Before is your click to the flicks!

No Other Choice (2025): My First Park Chan-wook Film

Posted on by Jack Drees

“No Other Choice” is directed by Park Chan-wook (Oldboy, Decision to Leave) and stars Lee Byung-hun (Joint Security Area, A Bittersweet Life), Son Ye-jin (A Moment to Remember, April Snow), Park Hee-soon (My Name, Seven Days), Lee Sung-min (Golden Time, The Spy Gone North), Yeom Hye-rann (The Glory, The Uncanny Counter), and Cha Seung-won (Uprising, Believer). This film is based on a novel called “The Ax” and is about a man who quite literally decides to eliminate his competition in order to secure a job.

Courtesy of Neon – © Neon

My experience with Korean cinema is very limited. In fact, to this day, I have never once reviewed a Park Chan-wook film on Scene Before. I have not even seen one of his films. Of course, I have heard of some of his work, but I have never had the chance to watch any of it. However, when I watched “Shelby Oaks” at AMC in October, one of the last trailers that played was for “No Other Choice,” which immediately caught my attention. This trailer boasted its positive reviews in addition to its 100% Rotten Tomatoes score. As of this publication, the score stands at 99%, but this is still mighty impressive. The trailer also made sure to emphasize that the film was from Park Chan-wook, whose last feature, “Decision to Leave,” was nominated for two BAFTAs. Not to mention, his feature prior to that one, “The Handmaiden” actually won him a BAFTA for “Best Film Not in the English Language.” While Chan-wook may not have as much recognition in the States as Bong Joon Ho, I would not be surprised if “No Other Choice” brings him some extra publicity that could make him somewhat of a household name. After all, I got to the see the film a little more than a week ago, and I have to say I found it to be quite good.

I have no idea how this film is going to do with general audiences, particularly those in the United States, but I really hope it succeeds. That sounds like a moot statement. In actuality, I want just about every film that exists to succeed. But I really hope “No Other Choice” in particular does, because the film has themes and ideas I think a lot of people living in the United States, as well as other parts of the world, can relate to.

The film starts off by introducing its lead character, Yoo Man-su, who basically has it all. A good life, a happy family, a couple dogs, a nice house, a good job, even some awards recognition. However, there comes a point where his collective success begins tumbling like a flimsy Jenga tower. He loses his job, keeps applying for other ones in his field but he cannot find success, so he ends up working in retail. With the pay not high enough, Man-su’s wife, Lee Mi-ri, gets to a point where she takes up some part-time work. The family starts sacrificing some of their hobbies and possessions. For Man-su, his extended struggle gets to a point where he feels he has, no pun intended, no other choice, but to kill off his competitors.

Seeing this plot play out is quite entertaining and results in some unpredictable moments. The screenplay weaves a lot of threads. Some some of those threads are more engaging than others. Admittedly, I felt the 2 hour and 19 minute runtime. If anything, that is probably the film’s biggest flaw. It is sometimes, not all the time, but sometimes, tediously paced. Yet it fails to change the fact that I was often intrigued by not just how much was going on, but the execution of all of it.

While “No Other Choice” will probably not end up amongst my top movies of the year, I do have to admit that it is absolutely one of the most technically beautiful movies I have seen in 2025. There are a lot of little quirks the film delivers that almost do not matter at all, but they nevertheless make the final product all the better. For example, there is a scene where we see one character holding a lighter, and there is a cartoony fire effect that comes up as said character flicks it. This is almost like something out of a graphic novel. The color grading in this film is extravagant. I got to see this film in IMAX laser, so I had a pretty bright projector in the auditorium, but I am sure even if it was not that bright, the film would still look incredibly poppy. The film is sometimes dark, but it takes a satirical route. It has a Tarantino vibe at times, so the color palette fits. Speaking of colors, sometimes the sun acts like a secondary character. There are a couple shots where the sun’s dropping or rising and it comes off as an Instagram influencer’s dream. The camerawork is also pretty solid. The film has maybe the sickest zooms I have seen since “Scott Pilgrim vs. the World.” I dropped my jaw at some of these movements. The film is often grounded, but there are occasional moments where the vibe can feel animated, and yet those two moods mesh together perfectly to make something fulfilling.

Another standout in the technical department is the soundwork. I saw this film with a large crowd, about a five to ten minute drive outside of Boston. My screening was almost sold out. The film has plenty of laughs, including some moments that, again, arguably do not matter much, but the fact that they are there makes the project better. There is a moment in the film where Lee Mi-ri is going over the changes that the family has to make in order to save money. One idea she had was to cancel Netflix. Of course, one of the children excuses themselves from the dinner table with an electronic device and says they’re going to get one final stream in. Next thing we hear is Netflix’s well-known “Tudum” sound effect that plays either before one of their programs or when you log in. It got a much bigger laugh from the audience than it should have, but it was timed and mixed so perfectly that it was almost impossible not to laugh.

The other sound effect that could have gone sideways was a specific door chime. You know how when you walk into a store, you hear a chime when the door opens? There is one scene set at a shop where a chime almost plays on a loop. The more it played, the funnier it became. At least to me. The chime itself was rather funny-sounding to begin with, but the fact that it kept playing only added to the comedy. “No Other Choice” has a lot of little things to appreciate in what is ultimately an ambitious ride. It has laughs. It has drama. It has entertainment. It has everything one could want to make a solid flick and more.

Courtesy of Neon – © Neon

In the end, I have no other choice but to recommend this film. I would not be surprised if “No Other Choice” ends up speaking to a lot of people. These include people who lost their jobs, perhaps those close to someone they know who lost a job, or people simply trying to get by. The cost of living, depending on where you reside, is getting out of control, and that is if it has not done so already. This is my first Park Chan-wook movie, and I would not mind seeing more. At some point, I would like to check out some of his older projects, or if he has something new up his sleeve, that could be cool to see too. I am going to give “No Other Choice” a 7/10.

“No Other Choice” arrives in select theaters this Christmas and will have a wide release in January 2026.

Thanks for reading this review! My next review is going to be for “Fackham Hall!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Scarlet,” “The Secret Agent,” “Hamnet,” and “Avatar: Fire and Ash.” 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 “No Other Choice?” What did you think about it? Or, do you have a favorite Park Chan-wook movie? Let me know your suggestions down below as I would love to get into more of his work. Scene Before is your click to the flicks!

Sentimental Value (2025): The House That Joachim Trier Built

Posted on by Jack Drees

“Sentimental Value” is directed by Joachim Trier (The Worst Person in the World, Louder Than Bombs) and stars Renate Reinsve (Presumed Innocent, A Different Man), Stellan Skarsgård (Dune, Andor), Inga Ibsdotter Lilleaas (Women in Oversized Men’s Shirts, A Beautiful Life), and Elle Fanning (Maleficent, The Neon Demon). This film is about the relationship between a filmmaker and his two estranged daughters, which only becomes more complicated when one of them declines to be in a film based on their family’s history.

Of the many prestige titles coming out at the end of 2025, one of the names that eventually found its name somewhere on my must see list was “Sentimental Value.” The film’s trailer seemed to tap into its central family drama, making for a rather intriguing idea. I did not care that it had a couple big stars or acclaimed names behind the scenes, though such things happened to be a bonus. Though selling me on a movie is not enough, I wanted to dive deeper into what I was buying, and what I bought was a fulfilling experience that highlights the ups and downs that comes with making personal art. Or in this movie’s case, perhaps as close as one can get to personal art.

Few things in life are as important as a good first impression. And “Sentimental Value” brings forth a dynamite first impression. The movie starts off with some of the best narration I have heard in a long time. The opening scene of the film is narrated from the perspective of a young Nora, one of the two daughters who play a large role in the story, and it taps into the idea of whether her house was alive, or happened to be aware of everything happening on the inside. Things such as the memories being made as well as the wear and tear that was being done to it over time. The editing throughout the scene perfectly matches each thought and neatly sets up everything that happens after, considering how much of a role that house continues to play in the characters’ lives.

Despite the film being a Norwegian production, “Sentimental Value” at times feels more like something straight out of Hollywood. Part of it has to do with the film having recognizable cast members including Stellan Skarsgård, who kills it as Gustav. But there is also Elle Fanning, who plays Rachel Kemp, an American actress. Kemp ends up taking the role in which Gustav originally asked Nora to play in his film, and I thought her presence often did a great job at representing Gustav’s tendency to sell out for the sake of his project. There is a great scene where Nora is riding an escalator and we see endless screens playing the same ad of Kemp as she’s going up.

The events in “Sentimental Value” very much reflect its name. Much of the movie revolves around a family home. In fact, one of the things Gustav wanted to make happen in his movie was being able to shoot it at said house. While the film does not dive into Gustav’s entire resume, it is easy to assume that  “Sentimental Value” is arguably Gustav’s most personal project yet considering he wants either someone or some place he knows in it. There is a saying that people should write what they know. There is also a saying that in filmmaking it is not a matter of what you know, and instead, who you know. While the latter can sometimes be seen as a negative in terms of allowing certain people a chance to find work, this movie does sometimes showcase the beauty and fun of working alongside family. For something like Gustav’s project, it only makes it more personal.

“Sentimental Value” is far from my favorite 2025 release. Though I do highly recommend seeing it, especially with someone you know. I had the privilege of seeing this film with a friend, and we had a pretty insightful discussion about it after. We knew a bit about each other so we were able to connect this movie to our lives. For example, throughout the film, we see that one of the differences between Nora and Agnes is that the latter has children. Of course, Nora gets the comment from her dad that having children is something she will not regret. That is an area in which the two seem to disagree. One of my favorite moments in the film is when Nora and Agnes are talking about the concept of having children, and Nora says while she does not have them, she said being Agnes’ big sister felt like being her parent. I am 26 years old, single, and do not have children. Frankly, I debate each and every day whether it is actually right for me to have children. And if my children read this years from now, please know, I am not saying this because I regret having you, or that I fear I will regret having you. But when I was younger, part of me felt like I was playing, to a certain extent, a fatherly role with my sister’s upbringing.

I was also pleasantly surprised to see the film’s occasional comedy chops. At its core, “Sentimental Value” is a drama, but it also weaves in some natural humor. Every instance of comedy felt more like something in the moment rather than a planned attempt to make people holler. One of my favorite moments of the film is getting to see Gustav explaining to Rachel the main idea for one of his film’s scenes involving a stool. When it is revealed that the story that inspired said scene was fabricated, the way that such a thing is done had me laughing. That said, whether the film goes into its more lighthearted laughable moments, its darker moments where we get some backstory, or the quite literally sentimental moments somewhere in between, it makes for one of 2025’s most compelling screenplays.

One final note about the film. While Netflix had no hand in producing or distributing “Sentimental Value,” I found it amusing how Gustav’s upcoming project was at one point going to be a Netflix movie. The film notes that this is not exactly Gustav’s first choice. Of course, one of the questions asked by the press about the movie is if it is going to be in theaters, to which I chuckled. Netflix’s refusal to put movies in theaters is astounding to me. By the way, as a reminder, please check out my reviews for “A House of Dynamite” and “Frankenstein,” two Netflix movies I saw in theaters this year, as much as they want me tied to my couch.

In the end. “Sentimental Value” is a completely inviting and moving package. It is film that showcases the importance of family while also diving into one’s personal struggles of being an artist. It balances both of these ideas perfectly and makes something beautiful out of both of them. Again, there are other films released this year I prefer, but I could see “Sentimental Value” having replay value somewhere down the line. I am going to give “Sentimental Value” a 7/10.

“Sentimental Value” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Zootopia 2!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Wake Up Dead Man: A Knives Out Mystery,” “Jay Kelly,” “Bugonia,” “No Other Choice,” and “Fackham Hall.” 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 “Sentimental Value?” What did you think about it? Or, would you ever want to make a movie based on your family’s history? Let me know down below! Scene Before is your click to the flicks!

Shelby Oaks (2024): Chris Stuckmann’s Chilling Feature-Length Debut

Posted on by Jack Drees

“Shelby Oaks” is written and directed by Chris Stuckmann (Notes from Melanie, Auditorium 6) and stars Camille Sullivan (The Man in the High Castle, Rookie Blue), Brandon Sexton III (Don’t Breathe, The Killing), Keith David (The Thing, Pitch Black), Sarah Durn (Where the Crawdads Sing, Carry-On), Derek Mears (Friday the 13th, Swamp Thing), Emily Bennett (Alone with You, City on a Hill), Charlie Talbert (Where the Crawdads Sing, Angus), Robin Bartlett (The Powers That Be, Mad About You), and Michael Beach (Saw X, Kingdom Business). This film is about a woman who is searching for her missing sister, with whom she previously made YouTube videos about the paranormal.

Before I begin my review for “Shelby Oaks,” I must preface by saying that there is potential for bias in what I am about to say. For those who do not know, this film is directed by Chris Stuckmann, one of the most popular film reviewers on YouTube. In fact, Chris Stuckmann, along with fellow YouTube critic Jeremy Jahns, are two of the biggest inspirations as to why I started critiquing films. As for Stuckmann, I happen to be in the same boat as him. While I love to talk about movies, I am also interested in making them. In fact, not to brag but I have taken my passion for film and media and turned it into something bigger. I work for a news station in Boston, and I made various shorts throughout high school and college.

To add extra potential for bias, I donated to this film’s Kickstarter campaign. I typically pay for the movies I review through movie tickets, physical media, subscription services, etc… But this is the first time I am reviewing a film whose budget literally comes from my own money.

As for my expectations for the film, I will be real… I was not sure what to expect. While I have seen a lot of social media marketing, I only watched the trailer one time in theaters, specifically before “Together,” which like this film, is from Neon. Was I excited? Sure. But I also did my best to keep myself from letting my expectations shatter the roof, as that only increases the chance of disappointment.

“Shelby Oaks” is responsible for making me spend more money on a movie prior to checking it out in the theater than any other, and I would say I made a worthwhile investment because I thought the film is quite good.

Is “Shelby Oaks” a perfect movie? No. But I did not leave this film thinking that Chris Stuckmann needs to stick to his dayjob on YouTube. That said, having watched his YouTube channel and getting to experience what he’s discussed for years, it did enhance my viewing. Stuckmann has established himself as a horror junkie, and it is clear that this is a passion project of his. The film reminded me of “Hereditary” for example due to its tone and lead performance. That film ended up being one of Stuckmann’s favorites of 2018.

The first ten, twenty minutes of the film, admittedly, caught me a little off guard. That whole segment is presented in the style of a documentary. You have interviews, b-roll, all that jazz. There are also several clips that feature YouTube in its older layout, which is not only a nice nostalgic touch, but also fits with the time in which part of this movie is set. It was also fun to see the creative comments sections and the fascinating user names listed there.

Camille Sullivan leads this film as Mia, and I did not know much about the actress leading up to this film’s release, but I am glad to know her name now. She carries this film in several scenes. Her performance, again, reminded me of Toni Collete’s in “Hereditary.” The performance here is not as powerful, but that is partially because “Shelby Oaks'” dialogue does not stand out as much as that of “Hereditary’s.” Granted, I do think this film does a great job at prioritizing visuals over dialogue. At times I felt like I was watching a “Quiet Place” installment. As for the dialogue that is in the film, I cannot say I found any lines that I outright despised. There are no lines that will go down amongst the greatest in history, but I thought overall, the dialogue was effective and helped in getting the characters from point A to point B.

Speaking of getting from point A to point B, I thought this film flew by. Granted, it is on the shorter side, but even with that in mind, it felt shorter than it was estimated to be. Maybe that is because of the film’s documentary approach in the beginning, which took up way more of the runtime than I anticipated. I have nothing against that portion of the film, but still. Even with the film flying by, almost each scene in the main feature feels incredibly drawn out. Each scene tends to take its time, which I have no problem with as they did a good job at drawing me in and immersing me into their respective environments. The film is shot on location, part of which includes the Ohio State Reformatory, the spot used for the prison in “The Shawshank Redemption.” While its lower budget definitely shows, the film’s effects, cinematography, and production design, all maintain a luster to them.

In terms of scares, “Shelby Oaks” reminded me of “Weapons,” which I found more tense than horrifying. It is a film that does not go overboard with any particular scare, although there are a fair amount of cliches in this film such as jumpscares. I am not traditionally a fan of jumpscares, but here they were used sparingly and were not too overly dramatic, which I did not mind.

Speaking of cliches, while this film does have an unusual structure, I found parts of it quite predictable. There is one particular scene where as soon as a certain person popped up, I knew pretty much where it was going, and lone behold, the end result was not much different from what I was expecting. Predictability is not exactly the most satisfying thing to see as a moviegoer, but at least everything in said scene appeared to fit into place.

When I first reacted to this film on social media, I spoke about the pace and how it reminded me of “Blade Runner.” I meant that as a compliment because, again, the film draws out its scenes to the point where they can sometimes feel slow. But by no means does that indicate that the scenes themselves are boring. In fact, I was wide awake for each scene. I cannot tell you everything that happens in each scene. If anything, the film does tend to weaken as it goes along to the point where some of the third act is rather forgettable. Even with that flaw in mind, it does not change how the setup of this film had me hooked. I was still onboard by the end, but less onboard if you will.

Speaking of the third act, I also found the film’s ending to be a bit haphazard. The ending does not break the movie. It does not ruin anything that came before. It does not fundamentally change the scope of the film for the worse, I just thought it was a bit abrupt. It is also kind of ironic because again, multiple scenes in the film feel drawn out. Yet when the movie gets to its ending, it is about as rushed as a TikTok video. This is not the worst ending I have ever seen. Not even close. But it kind of reminded me of “Kingsman: The Secret Service,” which outright refused to overstay its welcome once the climax finished.

What I am about to say next is probably not going to be a problem for many viewers, This is most definitely in nitpick territory but it is something that nevertheless caught my eye. This is probably going to to feel like déjà vu to those who just read my “Smashing Machine” review, I apologize, but bear with me… This film is presented in multiple aspect ratios. Granted, this is not the first time this has happened. Christopher Nolan for example has experience where he often swaps between traditional widescreen and the ratio of an IMAX screen. I have no idea how this film was assembled, but based on my presentation, it seems to have been assembled with a 16:9 aspect ratio in mind.

The film switches between three aspect ratios. There’s the movie footage, which is 2.39:1 widescreen. There’s the documentary footage, which is 16:9, or the traditional aspect ratio of a modern flat-screen television. And there’s the found footage, which is 4:3, or the aspect ratio of a traditional CRT television. Maybe I have to watch the film again in a different theater to see if anything changes, but given how much 2.39:1 footage there is, I am shocked how long I had to look at it on the screen and see two black bars from top to bottom. Maybe Stuckmann and crew tested this film on a wider screen and did not like how it looked, which, okay… I was not there. Maybe it looked ugly. But I found it weird to be watching this film in a theater, which traditionally sets up its screen for many different aspect ratios, and for a majority of the film, I was looking at black bars. I have a feeling this is an artistic choice, and I think it is one that could suit the home market given how most people watching this at home will likely watch this on a 16:9 screen. But I am curious to know how this film would have looked had it been designed for a wider screen. Funny enough, the movie is executive produced by Mike Flanagan, who directed one of my favorite films of the year, “The Life of Chuck.” That film also features changing aspect ratios. I wonder how much he and Stuckmann discussed this matter, and if one person seeing the other’s work had an effect on the look of either film.

In the end, despite some flaws, I was riveted by “Shelby Oaks.” It is not destined to become the next all-time classic, but it is a solid horror flick with a likable protagonist. This is the first feature film from Chris Stuckmann, and I am happy he was able to get his vision out there. It is a vision that sometimes comes with a rushed, albeit intriguing script. It is a vision that comes with some minor pacing problems, despite a multitude of well-timed sequences and scares. It is a vision that comes with a middle of the road at best ending, but not one that damages the positive moments that happened prior. I am not saying Chris Stuckmann should avoid writing more films. In fact, he sometimes has a knack for creating a decent scene. That said, I would love to see what he could do if he were to put the pen down and focus on directing something from another writer. That said, if Chris Stuckmann has something else up his sleeve, sign me up. I am going to give “Shelby Oaks” a 7/10.

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

Thanks for reading this review! My next review is going to be for Guillermo del Toro’s “Frankenstein.” Stay tuned! Also coming soon, look forward to my thoughts on “Good Fortune” and “The Running 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 “Shelby Oaks?” What did you think about it? Or, have you watched Chris Stuckmann on YouTube? What are your thoughts on his channel? And lastly, who’s your favorite movie critic? …Actually, don’t answer that, you all know it is me. Eat your heart out, Roger Ebert! Let me know what your thoughts are in the comments! Scene Before is your click to the flicks!

Splitsville (2025): Non-Monogamous Magnificence

Posted on by Jack Drees

“Splitsville” is directed by Michael Angelo Covino (The Climb, The Self Tape), who also has a writing credit and stars in the film as Paul. Joining him in the cast are actors including Dakota Johnson (Fifty Shades of Grey, Madame Web), Adria Arjona (Morbius, Andor), and Kyle Marvin (WeCrashed, The Climb), the latter of whom also wrote the film. This movie showcases the chaos that ensues after Carey is asked by his wife, Ashley, for a divorce. Following the bombshell, Carey runs into his friends, who he finds out are in an open marriage.

Remember how in August “The Naked Gun” was supposed to be a wakeup call to audiences that supporting movies of its nature would allow for more comedies to play in movie theaters? Well, guess what? I missed it when it came out. It is not that I did not think it would be funny, but I would rather watch the previous “Naked Gun” movies first. Plus, there are plenty of other standalone comedies like this one that I thought were a higher priority. “Splitsville” not only looked funny, but also kind of sexy. The concept lends itself to both adjectives being met. I can safely say “Splitsville” is consistently hysterical and often delivers a pinch of sensuality.

Despite this film heavily involving sex and partners, never once does it feel overly pornographic. There are various examples of nudity throughout the film, but each time nudity is shown on screen, it serves a purpose, and never flaunts any private parts. Well, except for one scene in the beginning, but it is more for a laugh than anything else. While characters do have sex in the film, never once does the film feel the need to showcase a graphic scene of said activity. Everything in this film, including the nudity, serves a purpose.

The screenplay for “Splitsville” is well done. Overall, I found it to be layered, unpredictable, and robustly structured. Other than the film at a certain point introducing so many elements at once that it is sometimes difficult to keep up, I cannot name any other glaring issues at the top of my head. I like all the characters, there is plenty of decent comedy, and each element of this film feels necessary. The moment one thing is introduced, even if it is something really small, it ends up playing an integral role that enhances the final product. 

Dakota Johnson is one of the most “interesting” actresses working today. I am not going to pretend I am the biggest fan of hers. Is she capable of giving a good performance? Sure. When given the right script and proper direction, she can deliver a “Daddio,” but sometimes she will give something as flat as “Materialists.” Thankfully, “Splitsville” does her favors, Johnson is quite good in this film as Julie. Unlike her experience of making “Madame Web,” I could tell Johnson, like everyone else in the cast, was having a lot of fun on set. Johnson plays an inviting, sometimes sensual, complicated character. To my pleasant surprise, I thoroughly enjoyed getting to know about Julie’s past. Johnson sings in her role.

And she is not alone when it comes to giving a good performance. Frankly, I do not have a problem with a single person in the entire cast. The film does not have many big names. Sure, Adria Arjona is growing in popularity with the success of “Andor,” but the film is quite low in terms of star power. But what this film lacks in name recognition, it makes up for in talent.

Despite being exposed to their previous work, Michael Angelo Covino and Kyle Marvin are names I did not know much about before this project. That said, watching these two do what they do on and off camera makes me pumped up to see whatever it is they do next. Michael Angelo Covino writes, directs, produces, and stars in this film as Paul. It is clear that his passion for this project is shining through in each frame. His character also has palatable chemistry with Dakota Johnson’s Julie. The two play off each other well.

Kyle Marvin plays this film’s protagonist, Carey. Kyle Marvin is a name that I have heard before, but completely forgot about before writing this review. Marvin previously directed “80 for Brady,” which ended up on my 2023 worst movies of the year list. “Splitsville” seems to showcase much more of Marvin’s abilities as a comedic force. Marvin does a great job at not only bringing humor into each scene but also occasionally balancing his performance when the film gets into some heavier moments.

Also, major shoutout to the young and talented Simon Webster, who gives an outstanding performance as Russ. Webster is given plenty to do, and he delivers in each scene. He is also connected to one of my favorite gags in the film, particularly one involving jet skis. I will not say more for those who have yet to watch the movie, but you will know what I am talking about once you see it.

“Splitsville,” to a degree, lives up to its name. While I cannot confirm that my sides split from laughing so hard, I think the film is still incredibly funny. Almost every joke feels naturally placed. There are only one or two jokes in the film that I thought lacked some sense of realism. Well, as much realism one can have in a comedy that is… These are jokes that may as well have been inserted solely keep a gag going, but even those got a laugh out of me. The movie delivers a surprising amount of tiny chuckles, especially in the first act. That may sound like a bad thing for a comedy film, but said chuckles are consistent, so in actuality, it works. The film also gave me quite a few bigger laughs to balance things out. “Splitsville” is not the funniest film I have seen this year, “Friendship” still takes the cake, but if you are looking for laughs, “Splitsville” has plenty.

A lot of the laughs come from what I would describe as authentic interactions between multiple characters. The film however does resort to extremes at times, and this includes one moment where Carey and Paul get into a fight. Not only do I buy this fight, but to my surprise, I think it is one of the best directed action sequences of the year. Every shot is as fluid as the next. I have seen action movies where the editor ends up cutting a new shot every microsecond and it sometimes looks shoddy. “Splitsville” is not an action movie, but its signature action scene is well shot, well constructed, and to top it off, it made me laugh. There is an incredibly funny gag involving fish and a bathtub. And that is just scratching the surface of this hilarious one-on-one.

In the end, “Splitsville” is fun, unique, and comes with a phenomenal cast. I cannot name a single person involved with this film who does not put in 110 percent. “Splitsville” is not the funniest comedy of the year, but if you are looking for a good laugh, this film will be there to fulfill that need. The past few months have been a solid run for Neon so far, with the release of this film, “Together,” and one of the year’s highlights for me, “The Life of Chuck.” This distributor is on fire right now. I am going to give “Splitsville” a 7/10.

“Splitsville” 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 “The Long Walk!” Stay tuned! Also coming soon, look forward to my thoughts on “A Big Bold Beautiful Journey,” “Him,” “Eleanor the Great,” “The Lost Bus,” and “One Battle After Another.” 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 “Splitsville?” What did you think about it? Or, what is your favorite comedy of the year so far? Let me know down below! Scene Before is your click to the flicks!