Plan B Entertainment

F1: The Movie (2025): Joseph Kosinski Puts Viewers in the Driver’s Seat for One of the Year’s Most Immersive Blockbusters

Posted on by Jack Drees

“F1: The Movie” is directed by Joseph Kosinski (Top Gun: Maverick, Tron: Legacy) and stars Brad Pitt (Ad Astra, Babylon), Damson Idris (Outside the Wire, Snowfall), Kerry Condon (The Banshees of Inisherin, Better Call Saul), Javier Bardem (Being the Ricardos, Dune), and Tobias Menzies (Game of Thrones, Outlander). This film centers around racer Sonny Hayes, who returns to the track following a long absence to boost his former teammate’s underdog team, all while mentoring a younger driver.

Director Joseph Kosinski has a knack for turning films into experiences. Back in 2010, he directed “Tron: Legacy,” which is one of the prettiest looking neon-infused fever dreams in cinematic history. But like lots of other people, the first film of his that comes to mind when you say his name, perhaps somewhat due to recency bias, is “Top Gun: Maverick.”

I had a blast watching “Top Gun: Maverick.” Is it a perfect movie? No. In fact there are some genuine screenplay problems that have been on my mind ever since I first saw it. That said, when I saw Kosinski’s name attached to “F1: The Movie,” it made perfect sense. If Kosinski can deliver to audiences the same kind of thrilling, high-octane, exhilarating experience that he did with “Top Gun: Maverick,” then I would be quite happy.

I am proud to report that Kosinski’s jump from planes to automobiles is just as exciting, and frankly, has a better story. Though that last part is not saying much. More on that later.

This film is an experience. My pupils dilated beyond their sockets watching this movie in IMAX. Part of this is thanks to the brilliant execution delivered in each shot from cinematographer Claudio Miranda, who previously worked with director Kosinski on “Top Gun: Maverick.” For a great chunk of the film I felt like I was inside the car driving it myself. There are several clever camera angles that gives the viewer the illusion they are moving with the car, whether it is on the side, on top, or while looking at the windshield. Some of these techniques are familiar. But there are select moments where the movie offers a first-person perspective that had me imagining that I was literally the car itself. There is a moment towards the film’s conclusion that is so riveting, so heart-pumping, and so freaking cool to look at that I could not help but glue my eyes to the screen. And it is even better in IMAX because the movie was shot with the company’s digital cameras, which expanded the aspect ratio for the entire film on their screens.

Keep in mind, it is the 1.90:1 aspect ratio, not 1.43:1. In Layman’s terms, it will not cover the whole screen at taller IMAX locations.

Once I saw Hans Zimmer’s name on the opening credits, I knew we were in for something special with the score. And something special we got. Some of the movie’s tunes genuinely got me excited. There is a moment that reminded me of another one of Hans Zimmer’s efforts, particularly “Interstellar,” mainly because the music appeared to be going at 60 beats per minute during one of the races. It seemed to be aiming for that “ticking clock” effect that was present for much of “Interstellar’s” runtime. The percussion in this film’s score is some of the best I have heard since Ludwig Gorranson’s score for “Tenet.”

The soundtrack in this film is not bad either. The film has a fairly rock-heavy soundtrack. There is not a bad track on the lineup. Perhaps the most well-known song on the list is Queen’s ‘We Will Rock You.” There is a pretty good use of it early on in the movie.

The best way I can sum up  “F1: The Movie” is that on the surface, it is the quintessential “dad flick.” It is very much a movie that you can imagine being made for the “dad” crowd. It has fast cars, good looking men and women on screen, it has a good amount of rock music, and it is about someone who is trying to prove himself despite his older age.

I sincerely feel bad for anyone whose first experience of “F1: The Movie” is going to be through Apple TV+. After seeing this film, “Mission: Impossible – The Final Reckoning” has got some competition for the greatest technical achievement of the year. This movie cost anywhere between $200-300 million to make, and I honestly can see all the money on the screen. Yes, the film has a well known star in Brad Pitt. But my jaw was on the floor with this film’s look. The colors. The audio. The camera angles. Everything in this film feels dialed up to an 11.

“F1: The Movie” is quite the ride. So, how is the script? It is not bad. As far as Joseph Kosinski’s library goes, this is a step up from “Top Gun: Maverick” in some ways. Perhaps the biggest improvement is that it never mysteriously refers to the antagonist as “the enemy.” What enemy? Who exactly? Who even cares?

The movie can most certainly be enjoyed by F1 fans, but it is definitely written with general audiences in mind. There are broadcaster bites throughout the film, highlighting every little nook and cranny throughout the race. As someone who has never sat down and seen an F1 race on television, I think this is an okay technique to use. The announcer lines are well done and there are quite a few that sound like they would come from a genuine sports telecast, and they also did a good job at introducing me to the rules of F1 that I probably would not have known right off the bat.

The one big negative, to a certain degree anyway, is that the movie is full of clichés. A lot of parts of the script feel been there done that. Though as I have addressed time and time again, clichés are fine as long as they are done well. And they are done well here. In fact, this movie feels like a genuine cousin to “Top Gun: Maverick” not only in terms of its experience, but structure as well. The film involves a race car driver who is trying to prove himself despite being past his prime, and much of the film sees him teaming up with a younger individual who shares his profession and ambitions. The two are off and on with each other, but ultimately have to work together no matter the obstacle.

If anything, “F1: The Movie” reminded me of Pixar’s “Cars,” and not just because both involve racing. But I happened to watch “Cars” a week before catching “F1: The Movie” in theaters and many of the story beats and character traits presented throughout the film felt interchangeable. “F1: The Movie” is kind of like the original “Cars” if someone gave it a bit of a “Freaky Friday” treatment. In this case, the filmmakers took Doc Hudson and made him the main character and turned Lightning McQueen into the supporting character. Additionally, they gave the Doc Hudson wannabe a little bit of Lightning McQueen’s entitlement.

So, maybe the story is generic, but it does not change the fact that I had fun watching it play out. Sometimes a simple story is effective as long as all the elements that make it up are done right. You have an arrogant but likable main character. You have an ambitious supporting character. All the other characters serve the story perfectly. On top of that, you have one of the most cinematic experiences of the year. What’s not to like about that?

In the end, “F1: The Movie” is an exciting race to the finish. You do not have to be an F1 fan to enjoy this film. It is simply an engaging two and a half hours of cinema that gets into gear and never runs out of gas. The script does not reinvent the wheel, but if you like watching wheels turn really fast, it will leave you beyond satisfied. I left this film thinking that this was likely going to have a strong presence in regards to the technical awards at this year’s Oscars ceremony. If “F1: The Movie” is playing in a theater near you, please check it out. You will have a ball. Do not wait for streaming. I imagine some of you are probably looking for an excuse to use your Apple TV+ subscription, but I guarantee the film will not look or feel as epic as it would on the big screen. I am going to give “F1: The Movie” a 7/10.

“F1: The Movie” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for another highly anticipated summer blockbuster, “Superman.” At one point, this was my most anticipated film of the year. Admittedly, with more marketing coming out and other films making their presence known, some of the anticipation has dwindled a bit. That does not mean I was not excited, but I was interested enough to see if this film could truly be something special. I will share more of my thoughts during my upcoming review. Also coming soon, look forward to my thoughts on “Guns Up,” “The Fantastic Four: First Steps,” “The Bad Guys 2,” and “Smurfs.” 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 “F1: The Movie?” What did you think about it? Or, do you ever watch actual F1 sporting events? What’s that like? Let me know down below! Scene Before is your click to the flicks!

Mickey 17 (2025): More Robert Pattinsons Means More Fun in Bong Joon Ho’s Latest Movie

Posted on by Jack Drees

“Mickey 17” is directed by Bong Joon Ho (Parasite, Okja) and stars Robert Pattinson (The Batman, Tenet), Naomi Ackie (Star Wars: The Rise of Skywalker, Master of None), Steven Yeun (The Walking Dead, Minari), Toni Collette (Knives Out, Hereditary), and Mark Ruffalo (The Avengers, Dark Waters). This film is set during a group’s mission to colonize a planet and mainly follows the journey of a disposable employee who we see living his 17th life.

I have waited desperately for the day I could watch “Mickey 17.” As a science fiction fanatic, this film looked like my jam. It had a clever concept, intriguing cast, and it was helmed by Bong Joon Ho, whose previous film became the Academy’s first Best Picture recipient not made specifically in the United States. I have a feeling that if this film were in the hands of, say a first time director, it might still sell me, but Bong Joon Ho’s involvement basically put me over the edge.

Is “Mickey 17” likely going to follow in the footsteps of “Parasite” and win Best Picture next year? It is still too early to say, but I would assume that to be a “no.” Although if the Academy Awards were tomorrow, I could see the film at least being nominated. That said, it is not for everyone. The film has heavy commentary, but also happens to cross a line to where it can be silly. If Bong Joon Ho did not direct this movie, I would have been convinced that this was a Taika Waititi film in the style of “Jojo Rabbit,” which seamlessly blends comedy and drama despite the movie sometimes falling into an extreme on one side or the other.

The movie has Robert Pattinson playing a character who we get to see repeatedly die, sometimes in brutal ways. That is something to put on the more comedic side of the spectrum. Yet on the dramatic side, the movie uses this disposable character as a foundation for highlighting the human condition.

Going back to comedy, this movie also has Mark Ruffalo and Toni Collette playing a couple who tend to be more concerned with blood spilling on their carpet as opposed to having someone die on said carpet. At the same time, on the dramatic end, the narrative also shows how people with prominence or power can affect the way people think.

There are multiple adjectives I could use to describe “Mickey 17.” Fun, brisk, grand, ambitious… I was not expecting “horny” to be one of those adjectives. At times, the vibe of this film reminded me of the 2021 flick “Voyagers,” which like this film, is mainly set in a spaceship with a decent amount of characters. The films have their differences, one of them being that “Mickey 17” is much more watchable. Although one similarity the two movies have is that they feature characters or storylines that have something to do with sexuality and urges. The movie features a sizzling connection between Robert Pattinson’s Mickey variants and a security agent named Nasha (Ackie) for example. This movie is about a group’s journey to colonize a new planet, and the individual at the forefront of this mission is politician Kenneth Marshall (Ruffalo) who early on, gives this dramatic speech to an audience encouraging them to “spread their seed” upon their arrival.

This is Bong Joon Ho’s first feature film following the Oscar Best Picture winner “Parasite.” While the film itself is not on the same level as “Parasite,” there are some scenes from “Mickey 17” that made me shake in the same way I did watching the former. “Mickey 17” has a halfway decent amount of unpredictability, but nothing as out of left field as “Parasite.” The structure of the film feels familiar, but it is done in a way where certain moments feel fresh or one of a kind. Much like “Parasite,” “Mickey 17” does a good job at handling commentary. Sometimes it is a little on the nose, but it is still decently delivered. For example, there is a scene early on where we notice a massive sea of supporters for Kenneth Marshall, a politician this movie clearly paints as the antagonist, and a fair amount of those supporters are wearing red hats. Sound familiar? If not, then maybe this movie will have to try harder and make commentary great again.

I can get by the not so subtle commentary because despite it being played up, it does feel reminiscent of current times. In fact, it only feels more on the nose by coincidence considering who was elected President in the U.S. before this film came out. The true test however is to see how the film ages with the world’s political landscapes. That said, society is not perfect. So odds are this film could age decently.

Tonally, “Mickey 17” is an enigma. It is certainly unconventional, but I kind of love it. That said, I could see some people comparing this film to a Saturday morning cartoon at certain points. Aside from that, there is not a ton else that bothers me in the film aside from the fact that some of the effects look fake. The exterior of the spaceship looks like something out of a TV series. That bothered me in the marketing for this movie. When I saw that spaceship for the first time, I thought I was watching an animation. That gripe remains in the final product. Many of the effects in this film look okay, but that spaceship stood out to me. I will not doubt that a lot of work was put into the CGI, but the film’s budget is at least $118 million. It could definitely be more expensive, but for that much money, I sometimes expected something a little more polished.

I am curious to know how this film will do with general audiences. For science fiction nerds like myself, this film is a complete and total blast. I think some casual moviegoers will be riveted by the film’s spectacle, and they will also enjoy seeing Robert Pattinson give it his all in two roles. Bong Joon Ho has had a prominent boost in the past number of years, and “Mickey 17” will likely garner certain people’s attention in my country, the U.S., since the film is in English, unlike his previous outing. But I am not sure if this film is going to have the spark to bring everyone together. Plus, again, I will mention that Mark Ruffalo is essentially playing a Donald Trump wannabe. Should word of that spread around just enough, I can imagine more people wanting to give their hard earned money to something else that will feel more like an escape. Although if I am being honest with you, this film is kind of an escape. The film took me to space, and I found it to be a fine journey. I give the movie a recommendation.

In the end, “Mickey 17” is an experience that is going to stick with me for a long time. This movie is grounded yet wonderfully odd. It is full of tiny, admirable quirks. The performances are to die for. Everyone is great in this film. Mark Ruffalo, Robert Pattinson of course. But if I had to name a favorite, I would have to say Toni Collette takes the cake. By the end of the film, I loved her simply because of how fiendish this film makes her out to be. She is very well directed. “Mickey 17” is another win for Bong Joon Ho and I am going to give it a 7/10.

“Mickey 17” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! I keep beating a dead horse, but I apologize if I am behind on my reviews. The truth is, I am most definitely behind. I have been busy. I am still catching up on posting about the movies I watched while making the 7th Annual Jack Awards. A ceremony which by the way, you should totally check out. Here are some of the reviews you can expect going forward, and I have seen all these movies by the way. Coming soon, you can read my thoughts on “Locked,” “Hans Zimmer & Friends: Diamond in the Desert,” “The Luckiest Man in America,” “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” and “A Minecraft Movie.”

I cannot wait for you to see my reviews on all these movies. No, seriously. I have been putting these off for quite some time so I cannot wait any longer. And you can be notified about these reviews as soon as they drop. Please follow Scene Before either with an email or WordPress account, and be sure to check out the official Facebook page! I want to know, did you see “Mickey 17?” What did you think about it? Or, what is your favorite Bong Joon Ho film? Let me know down below! Scene Before is your click to the flicks!

Nickel Boys (2024): The 2024 Academy Award Best Picture Nominee I Did Not Care for

Posted on by Jack Drees

“Nickel Boys” is directed by RaMell Moss (Hale Country This Morning, This Evening, Easter Snap) and stars Ethan Herisse (When They See Us, The American Society of Magical Negroes), Brandon Wilson (Murmur, The Way Back), Hamish Linklater (The Big Short, Battleship), Fred Hechinger (The White Lotus, Thelma), Daveed Diggs (Wonder, The Little Mermaid), Jimmie Fails (Pieces of a Woman, The Last Black Man in San Francisco), and Aunjanue Ellis-Taylor (King Richard, Ray). This film is set mostly during the Jim Crow era and is about the friendship between two African-American men who meet an abusive reform school.

I love when filmmakers experiment and try to insert unique concepts or tricks in their films. In the case of “Nickel Boys,” the film mainly uses a first person perspective to tell its story. If you watch a lot of movies, you will notice that while they do have main characters, the camera, more often than not, acts as a third person. I think a first person point of view is a clever idea for telling a story like this. It could put you in the mindset of someone who lived unfathomable events. I wish I could tell you I was riveted by this concept, but I cannot. The honest truth is, I found “Nickel Boys” to be gimmicky.

Going back to what I said about that first person perspective… Notice how I said it “mainly” uses that perspective. Because the film tends to switch perspectives from time to time, and these transitions tend to come off as distracting. There is a decent story that engages conversation in “Nickel Boys” somewhere. In fact, this story takes inspiration from a book based on unfortunate but true events. But the impact of that story is diminished by unusual tricks that do not stick the landing.

I should note this is not the first time I have seen a film done primarily in a first person view. One of my first reviews on Scene Before, where my writing abilities were definitely not as up to par, was for the action film “Hardcore Henry,” which I thought was okay but ended on a weird, abrupt note. While the movie is not perfect, I thought for the most part, the first person perspective added to the experience of that film. It reminded me of a first-person shooter like “Call of Duty.” I did not feel as immersed or closer to the scene when watching “Nickel Boys.” If anything it sometimes gave the illusion that I was watching life. Granted, this film does have a slice of life feel to it. You might think, “If something is so lifelike, does that not make it immersive?” Technically two and two can go together, but what I am getting at is that there was nothing about this film’s first person perspective that made me escape my reality and enter someone else’s, no matter how hard the filmmakers tried.

There are shining moments of “Nickel Boys” despite its flaws. The acting in this film is excellent. While I meant it as a diss earlier, this film is like watching life. In the sense of everyone’s acting abilities on screen, that is technically a compliment because all the performances are lifelike. While I wish I were more riveted by the relationship between Elwood and Turner, I will not deny that both of their respective performers, Ethan Herisse (above) and Brandon Wilson, knock their performances out of the park. These two seem like genuine friends and part of me wishes I could have been a fly on the wall if they were ever given a chemistry test.

The film does a really good job at establishing the connection between the main character, Elwood (Herisse), and his grandmother, Hattie (Ellis-Taylor). This is best established by what happens when they are separated. There is a scene where we see Hattie talking with Turner, and she reveals her displeasure for how the school would not allow her and Elwood to see each other. The scene even ends on a comforting note. Despite my previous complaints for the way the movie was produced, I thought that moment enhanced the first-person perspective. It is a moment that I thought could have worked in a more conventional manner, but it was made a smidge better since it was done in a first person view.

If I am going to be honest with you, I am going to remember this film mostly for its experimental vision that I imagine could sit well with some viewers, but not so much for yours truly. I think this film’s narrative is only going to become increasingly forgettable over time. I know this is a deep narrative, I just wish I were more compelled by it. The film will undoubtedly have an audience, some of whom will likely revisit it over the years. I just do not know if I will be a part of the crowd that ends up watching the movie more than once. As I watched the film I found myself a bit underwhelmed. I knew in advance about all the accolades and praise this film received from others. There is always at least one film nominated for Best Picture every year at the Oscars that begs me to question or disagree with the majority of viewers in regards to liking it. Last year, it was “Killers of the Flower Moon.” The year before that, it was “Elvis.” This season, it is “Nickel Boys.”

I hate to say this, because I was genuinely was looking forward to this film. By the halfway mark, I was bored. As of writing this, the film is streaming on MGM+, a streaming service whose slogan must be “The streaming service to buy when you finished buying all the other ones.” I watched “Nickel Boys” in a theater, but if I were streaming, I would probably turn it off and watch something else around the halfway point. My time is much too valuable and this would not have been the best use of it. I wish I were more compelled by the story, the characters, and unfortunately I was not. I think others will be. I am likely in the minority. Maybe a second viewing would help. But I do not think that is going to happen anytime soon.

In the end, “Nickel Boys” one of the biggest disappointments of the past year. It is not a broken movie, it is just one that I wish I could have appreciated more. I have seen all of the Academy Award Best Picture nominees from 2024, minus “Emilia Perez.” I would have to say “Nickel Boys” is my least favorite of them all. This was not an easy movie for me to sit through. Other than a couple decent scenes, “Nickel Boys” does not have a lot for me to write home about. The narrative dives into poignant moments that should keep me riveted. Maybe they are better represented in the book that this film is based on. “Nickel Boys” was a one time watch for me. I would watch it a second time to see if it is better, but if I were alone on a Friday night and were looking for something to watch, I would want it to have a better pace than what this movie delivered. I am going to give “Nickel Boys” a 4/10.

“Nickel Boys” is now available to stream on MGM+ for all subscribers.

Thanks for reading this review! Once again, apologies if my posts have been slow lately. I am still catching up on reviews after finishing the 7th Annual Jack Awards. And I have plenty in the pipeline. Soon I will be reviewing “Mickey 17,” “Locked,” “Hans Zimmer & Friends: Diamond in the Desert,” “The Luckiest Man in America,” “The Penguin Lessons,” “Novocaine,” and “The Ballad of Wallis Island.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Nickel Boys?” What did you think about it? Or, what is your favorite of the 2024 Academy Award Best Picture nominees? It is an easy pick for me, and I am very glad this movie won. I would have to say “Anora.” That was an experience if there ever was one. Let me know your pick down below! Scene Before is your click to the flicks!

Beetlejuice Beetlejuice (2024): A Long-Awaited, Gorgeously Convoluted Sequel to Tim Burton’s 1988 Horror Comedy

Posted on by Jack Drees

“Beetlejuice Beetlejuice” is directed by Tim Burton (Edward Scissorhands, Charlie and the Chocolate Factory) and stars Michael Keaton (Batman, Spider-Man: Homecoming), Winona Ryder (Little Women, The Age of Innocence), Catherine O’Hara (The Nightmare Before Christmas, Schitt’s Creek), Justin Theroux (The Girl on the Train, The LEGO Ninjago Movie), Monica Bellucci (The Passion of the Christ, The Matrix Reloaded) Jenna Ortega (Wednesday, Jane the Virgin), and Willem Dafoe (Spider-Man, The Lighthouse). This film is the sequel to the 1988 film “Beetlejuice” and follows the Deetz family as three generations return home to Winter River. Meanwhile, Lydia Deetz’s life turns upside down when her daughter, Astrid, accidentally opens the portal to the Afterlife.

Much like this summer’s “Twisters,” I perhaps got around to “Beetlejuice Beetlejuice” out of pure luck. Why? Much like the original “Twister,” I only saw the original “Beetlejuice” once. And I managed to watch 1996’s “Twister” just days before its follow-up released. The same can also be said for 1988’s “Beetlejuice.” As for my thoughts on that original film, I found it to be clever and it occasionally delivered a few chuckles. The production design and costumes are also pretty good. But it is not my favorite Tim Burton movie. That said, I did watch the marketing for “Beetlejuice Beetlejuice” and was somewhat captivated by it, even before seeing the original film. It looked like a good time, funny, and aesthetically pleasing.

For the record, I saw “Beetlejuice Beetlejuice” on its opening weekend in September. One of the first positives I can say about “Beetlejuice Beetlejuice,” and this is a timely one, is that it set the mood for spooky season. I love fall. I love this time of year. Especially as someone who lives in New England and has high standards for foliage. One tree’s trash is another man’s treasure. Speaking of my mood, this movie starts off by putting me in a good one. While the movie feels somewhat updated compared to the original, it is easy to tell it is part of the same universe, and it all starts with the intro credits. “Beetlejuice Beetlejuice” starts off in the best possible way it can. It kicks things off pretty similar to the original, where you have the opening credits, a series of nice-looking shots, and Danny Elfman’s awesome music booming in the background. It is very much a successful welcome back to this universe similar to how “Top Gun: Maverick” welcomed audiences back a couple years ago with some similar musical choices to its original counterpart.

Much like the original, Michael Keaton steals the show as Beetlejuice. He is funny, over the top, and gives it his all in the role. This is Keaton’s latest long-awaited comeback as a character he played in the 1980s. You may recall he reprised his role as Batman last year in “The Flash.” While I did not despise Keaton as Batman in “The Flash,” Keaton shines much brighter this time around as Beetlejuice. He is delightfully kooky and captures my attention every second he is on screen.

While this movie does see the return of actors like Winona Ryder, Catherine O’Hara, and the recently mentioned Michael Keaton, I was intrigued by the newer characters too. Believe it or not, I never watched “Wednesday” or the recent “Scream” movies so I was not fully familiar with Jenna Ortega’s resume. The only major role of hers I have seen was in 2022’s “X.” But I am delighted to say Ortega does an okay job in her role. I thought while her character was written with some cliches, I thought Ortega played her part well. I was invested in her role. She also develops a connection with a character named Jeremy Frazier, played by Arthur Conti. Their connection takes the story in a much deeper direction than I was anticipating. But while I appreciated the depth of the story by the time we get to see these two together, there are some things in this movie that I would have preferred to be cleaned up.

The biggest problem I have with “Beetlejuice Beetlejuice” is that this movie tries to shove so much into one project. This movie is on the shorter side, with a runtime of 104 minutes. But at times it feels longer. There are scenes in this film that go on for what feels like an eternity. Again, I had fun with this movie. But not only do scenes overplay, but there are so many story elements going on at the same time that “Beetlejuice Beetlejuice” falls into the typical sequel trap where it tends to go bigger, but unfortunately, not better. I cannot pinpoint to an element that breaks the movie beyond repair, but there is nevertheless so much going on.

Speaking of a lot of things going on, this film at times comes off as tonally inconsistent. To repeat what I said recently, the film is fun. That said, it is not all fun all the time. And when the tones shift, that transition feels nearly seismic. There are instances, particularly in the beginning of the film, that came off as serious. The movie’s serious moments were not as well executed as I would have hoped. They did not invest me as heavily as the moments that followed. As for the moments that followed, those are the moments that I came to the movie hoping to see and just so happened to be pleased by. The start of the film, perhaps the first half hour or so, feels dark and gloomy. However, I should not pretend this is not exactly dissimilar to the original film, where within the first ten minutes, we see a couple drive off a bridge and die. But even when that happens, there is a sense of wonder, a sense of mystery, a sense of fun. “Beetlejuice Beetlejuice” in comparison starts off making me wonder when the fun begins.

“Beetlejuice Beetlejuice” has some clever concepts and ideas. I like the direction in which they took Lydia Deetz’s character. We now see her hosting a show called Ghost House, which deals with the supernatural. One concept that stuck with me by the end of the film is a Soul Train that takes passengers to the Great Beyond. It is not just called that because of something that could happen to your soul, but there’s a cool sequence where we see tons of people around said train dancing to soul music. I think by the end of the film, that becomes one of the concepts that feels overdone, but still, it was clever.

As for other positives in the film, Willem Dafoe does a good job as Wolf Jackson, I thought he brought some energy to the project. The color palette of this film is gorgeously vivid and immersive. It is truly eye-popping at times. Like I said regarding the original, the sets in this film are also a work of art. They are otherworldly and offer some extensively pleasing detail. This film aces its looks, but falters a tad when it comes to its personality. It comes off as somebody you know, perhaps a good friend, trying too hard to please or impress you. While they may be partially successful in said task, part of you wants them to calm down. Their point has been established and their task has been accomplished eons ago, so to speak.

In the end, I am glad I saw “Beetlejuice Beetlejuice.” Does it feel like a movie only Tim Burton could make? For the most part I would say yes. But the movie is ultimately a series of ideas that sometimes works and at others, fail to stick the landing. If you liked Michael Keaton in the original film, you will like him in this one. He does a fantastic job as Beetlejuice. I am not one of those people who hails the original “Beetlejuice” as an all timer or as my favorite Tim Burton project, but I think this sequel is a step down from its 1988 predecessor. If I had to pick a film to watch tonight between the two, my pick is the original. I did not hate “Beetlejuice Beetlejuice.” There are moments to appreciate, but it is nowhere even close to being flawless. I am going to give “Beetlejuice Beetlejuice” a 6/10.

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

Thanks for reading this review! My next reviews are going to be for a couple animated films, “Transformers One” and “The Wild Robot!” 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 “Beetlejuice Beetlejuice?” What did you think about it? Or, which of the two “Beetlejuice” movies do you prefer? Let me know down below! Scene Before is your click to the flicks!

Bob Marley: One Love (2024): Every Little Thing Is Gonna be Boring

Posted on by Jack Drees

“Bob Marley: One Love” is directed by Reinaldo Marcus Green (We Own This City, King Richard) and stars Kingsley Ben-Adir (Secret Invasion, One Night in Miami…), Lashana Lynch (No Time to Die, Captain Marvel), and James Norton (Happy Valley, Flatliners). This film follows the titular reggae musician in his journey in music and to overcome his difficulties.

When I surf the Internet or have conversations in my social circles, one thing that sometimes comes up just so happens to movie trailers. Specifically, the idea of seeing the same trailer over and over again at the movie theater. I remember a colleague of mine saying that this happened to them for “Argylle.” And I can say that is one I remember seeing quite a bit as well. But if I had to name a trailer or marketing campaign that has done such a thing for me recently, it would be the one for “Bob Marley: One Love.” To be fair, they put the first trailer out months in advance, so it had the opportunity to be shown plenty of times. But almost every time I went to the movies, it flashed on the screen.

Based on the unlimited exposure “Bob Marley: One Love” has given me alone, I hoped it wouldn’t suck. Partially because, well, “Argylle” did. When you play a trailer enough times to equal a short movie, then I kind of hope by the time I see it, I don’t feel duped. That said, the movie did not look like the next big thing, but by no means did it look awful. There was potential between factors such as the story and Ben-Adir playing the lead role.

Unfortunately, when it comes to films about musicians or music in general, this failed to hit the right notes for me.

To be frank though, it made me question my intelligence. I understand a lot of movies. Sometimes I understand movies will mean certain things to certain people. Sometimes I get that art in general can be open-ended. “Bob Marley: One Love” seems for the most part, straightforward, but it reminded me of one of my weak spots. Languages.

I am not saying I refuse to learn or understand foreign languages, what I am saying is that whenever I am tasked with doing so, say for when I was in school, I found it to be incredibly difficult. But I am always thankful whenever movies have subtitles because they help me understand what is going on. “Bob Marley: One Love” is in English, but a lot of it is spoken through Jamaican accents, which I do not usually hear every day. There is nothing wrong with that. In fact, I appreciate the authenticity. I just wish, and this harkens back to my struggles, I could have been more engaged with it.

I am NOT asking people from this movie to sound like they’re from Ohio. I am just saying that if I were able to see the future, I probably would have asked for a different fate where I could have subtitles flashing on screen throughout the film. Simple as that. It is sad that an issue like this is detracting from my overall experience, but facts are facts.

Ever since “Parasite” director Bong Joon Ho won the Golden Globe for Best Motion Picture, International Feature during the 2020 edition of the ceremony, there is one quote I have often used in regards to watching certain movies.

“Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” -Bong Joon Ho

That quote specifically applies to foreign flicks or films not mostly executed in my native language, which would be English. But a part of me thought Bong Joon Ho’s quote could be applied to “Bob Marley: One Love” as well. The movie is part of the Hollywood system and heavily marketed to North American audiences, but as I watched the film, I had trouble deciphering some of what’s being said. Now, maybe my hearing is deteriorating. Maybe I watched “Oppenheimer” one too many times and now I’m paying the price. But it is also possible that I just was trying my best to understand every word that was being said by certain characters, and for whatever reason, it just wasn’t coming through. There is nothing wrong with authentic accents or voices that link to a certain part of the world. That said, if I were to go back and watch “Bob Marley: One Love” a second time, which I am probably not going to, I’d want subtitles.

I am going to give props to “Bob Marley: One Love” for perhaps delivering an authentic, lifelike experience when it comes to several characters interacting with each other or talking with one another. But if we are simply going by first impressions, I felt a little lost watching this film. A bit disengaged perhaps. Because for all I know, I could latch onto a number of the conversation scenes during this movie, but I could not pick up on everything the characters are saying. I remember a few years ago when I saw the 2021 remake of “West Side Story” for the first time and they had a few scenes where they had characters speaking in Spanish, and there were no subtitles on screen. For the record, I dropped out of Spanish I in high school a couple weeks into the class, so I’m no expert on the language. But even I got a sense of the context of what was going on without subtitles. Now when I look at “Bob Marley: One Love” it feels weird knowing that I am going from comprehending a language I do not speak, to not getting a clue of what was going on in this movie in English. I know not every movie can be universal to everyone. But my lack of understanding of what was going on through the dialogue severely hindered my experience. It could have been a lot better.

Even with my complaints, I will not deny that Kingsley Ben-Adir was a good pick to play the titular role. I thought he had charisma, pizzazz, and he also looked the part. And it is almost hard to imagine other people filling in the shoes of this role. When it comes to the overall chemistry in the film, Ben-Adir does a good job with latching onto just about every other character in sight. I am not saying this performance is going to win an Oscar, but as far this movie goes, he does a good job. And honestly, while there are no abominable performances in the movie, there are no other real standouts either.

But if there is another standout, I would have to say the soundtrack is sometimes pretty good. Obviously, this is a music-based film so this should not be a huge surprise, but the moments where we end up hearing Marley’s music make the film a tad better.

Although I want to talk about the part of the movie that for me, really let me down. The ending. It is not heartbreaking per se. It is not offensive to other people. It is by no means a crime against humanity. But the best way I can describe this ending, primarily from a filmmaking and cinematic perspective, is “lazy.” Because I came into this movie with a certain expectation, and once we get to the end, once it feels like we are getting to that point, the movie stops and delivers such an expectation in a way that honestly feels slapped together. I do not know how to talk about this moment without saying the words “spoiler alert,” which come to think of it, would be a weird thing to say about a movie based on real people and true events. But as we got to the ending, my pupils lit up, and my dilation nearly became an eyeroll. The movie started, to some degree, getting better. Or so I thought. It put a massive dent on what I already thought was an underwhelming experience.

The potential is there for a good story regarding this material in particular. I think it is a story that could make a figure like Bob Marley attach to a great span of this world. It would get a lot of people to feel bad for him and root for him. But there are so many little things in the movie that left me unsatisfied. The acting is okay, but I just wish I could have been more attached to the characters. Pacing-wise, “Bob Marley: One Love” is an enigma. The movie is somehow too long to catch my absolute interest. Yet as soon there are crevices where something actually manages to catch my interest, it does not take long for the movie to become boring. This movie came out the same weekend as “Madame Web,” which I saw first. “Bob Marley: One Love” is not “Madame Web” bad, but it is still not good.

In the end, “Bob Marley: One Love” is off-key. I was bored. I was disengaged. I wanted to leave. Now, the film is by no means the worst I have ever seen, but there is nothing that stands out about it that makes me want to watch it a second time. As conventional as say, “Bohemian Rhapsody” may appear, I was more engaged with that film and how it handles its characters. I thought it was a story where I could latch on from start to finish. Additionally, as much as I liked Ben-Adir’s lead performance, it is a far cry from Rami Malek as Freddie Mercury. “Bob Marley: One Love” tries to take a compelling concept to the finish line. But in terms of execution, I felt it needed to pick up the pace just a bit. Maybe a second viewing with subtitles would make the experience better, but I was not riveted enough in my first viewing to warrant a second viewing. I am going to give “Bob Marley: One Love” a 4/10.

“Bob Marley: One Love” 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 my most anticipated movie of 2024, “Dune Part Two.” Does it live up to the hype? You’ll have to wait and see. Also coming soon, I will have reviews for “High Tide,” “Kung Fu Panda 4,” “Ghostbusters: Frozen Empire,” “Snack Shack,” and “Godzilla x Kong: The New 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 “Bob Marley: One Love?” What did you think about it? Or, who is an artist whose story would make for a good biopic? Let me know down below! Scene Before is your click to the flicks!

Minari (2020): Seed This As Soon As You Can

Posted on by Jack Drees

“Minari” is written and directed by Lee Isaac Chung (Abigail Harm, Lucky Life) and stars Steven Yeun, Han Ye-ri, Alan Kim, Noel Kate Cho, Youn Yuh-jung, and Will Patton in a film about a Korean family trying to live the American dream. The movie mainly centers around a father who wants to build a better life for his spouse and children. In hopes of achieving all he could wish for, David moves with his family to Arkansas to start a farm. While Jacob is happy and ready to see his dreams potentially rise to reality, not everyone is onboard. Throughout, we are presented with a slice of life about a group of people adapting to a new situation and all its successes and failures.

I’ve waited a couple weeks to talk about “Minari.” Why? For starters, I wanted to get my Valentine’s Day special out to the public. Top 10 Movie Crushes, check it out! But I also have been busy with school and life to the point where I just could barely find time to work on this review. So I apologize in advance if anything that comes out of my mouth sounds odd, it has been a couple weeks. I went into “Minari” sort of with the same expectations that I had for “Nomadland,” which I had high hopes for, I thought Chloe Zhao was going to knock the film out of the park, and what did I think of it? Well, I gave it a 7/10. Now that is not a bad grade by any means, but I kind of expected at least an 8 given how the film has won so many festivals and awards thus far and it may continue its dominance at the Golden Globes this weekend if things go right. I will say though, Chloe Zhao may be *the* director all film fans should have their eyes on right now. Not only does she have a critically acclaimed film with “Nomadland,” but she also has “Eternals” and a “Dracula” project coming up. Could be exciting!

As for Lee Isaac Chung, the director of “Minari,” he is not a name I am completely aware of. I have not watched, nor am I familiar with any of his work. I know of Steven Yeun, the star of this film, but this film comes packed with a bunch of folks whose names I could have never stated prior to either watching the movie or making this review. It’s kind of like every day in high school. It’s a lot of folks around at once! Who are these people? What are their names? Come on, help me!

Either way, let me just give you my simple thoughts on “Minari.” To say I went in with low expectations would be a total lie. I was expecting an Oscar contender. I can assure you I was not disappointed. Granted, it is a little forgettable in parts but overall, I had a great time watching “Minari.” Everything from the acting to the directing to the writing is top-notch and well worth a trip to the theater or a rental whenever it is available on VOD.

“Minari” is one of those films that makes you feel… Well, everything. You laugh. You smile. You wince. You go “wow.” You may even get to the point where you’re a little emotional. I am not saying “Minari” is a tearjerker, but it is certainly a movie where the characters continue to grow on you.

“Minari” comes off as a small, intimate story with giant, magnificent craft. And a part of that has to do with the relationship between the cast and the directing effort. Steven Yeun and Han Ye-ri do an excellent job encapsulating the mix of tension and togetherness between their characters, Jacob and Monica. They have their differences, but they are in a way willing to stick together for something glorious that may lie ahead. Jacob is clearly happy and cannot wait for his dreams to come true, but Monica is noticeably pessimistic and that sort of affects how they are trying project reality onto their family.

One of my favorite parts of the film would have to be the relationship between the young boy, David, and the grandma, Soon-ja. Thinking about it now, when I was a child, I would spend many days with my grandmother. Granted, for different reasons than this film presents. This relationship to an extent reminded me of the one I had with my grandmother as a child. She would come by my house, hang out with me, watch television, play her handheld solitaire. Although one thing that out stood to me during the film is that the boy refuses to call his grandma “real.” By his definition, that means a grandma who “bakes cookies” for example. Now, I’ve done that sort of thing with my grandma, that I will not deny, but it sort of reminded me of a conversation I would have with her every once in a while. So I am from the Boston area, where people like their coffee from Dunkin’ and their football teams winning championships. One of my earliest memories of hearing the distinctive “Boston accent” came out of my grandmother’s mouth, where instead of saying “careful,” she would say “cahful.” I would occasionally “correct” her and then we move on with our lives. While I never called either of my grandmothers “fake,” I can assure that this relationship between a young boy and his grandmother is somewhat similar to one I’ve experienced myself.

One of the recent films I watched in terms of my Scene Before reviews was the Amazon Studios film “Herself,” which I thought was quite a good watch. Not as stellar as “Minari,” but it is worth your time. It is currently free for all Prime subscribers, give it a chance. The recent why I bring that film up is because like “Minari” it has one of the better endings of 2020. Both films have respective endings that are sort of subversive, but also lines up and connects with a theme that may have been brought up earlier in the film. I will not spoil either ending, but the way they do it in “Minari” makes the ticket price worth paying. Plus, without any further clarification, it allows the cinematographer to go to town and deliver a couple of the standout shots of 2020 cinema. I do not think the Academy will recognize “Minari” for cinematography, but I am sure they will recognize them more so than the Golden Globes.

Antiquated rules, my ass.

In the end, “Minari” is a great film that I will recommend to everyone reading this. Now if you are one of the few people who passed on “Parasite” because you cannot stand subtitles, I will still recommend “Minari” because it probably will still connect with you in some way, but I cannot control your lives and manipulate your way of thinking entirely, that might be cruel. The film has a couple problems. And I will sort of attribute it to the same things I said about “Soul” when I reviewed that film. The film checks a lot of boxes, humor, heart, good characters, but there are certain films that take many of these elements, which are “good” and takes them up a level. But that is just me. “Minari” is nevertheless worth a watch, maybe two, and I am going to give it an 8/10.

Thanks for reading this review! This Sunday I am proud to announce the Jackoffs is about to get in gear. For the past number of months, I have been working on comedy bits, an intro, previews, a poster, and now… A key moment has arrived. It’s nomination time! This Sunday I will be announcing the nominations for the 3rd Annual Jackoff Awards! What do you hope to see nominated? Leave your comments below! Be sure to follow Scene Before either with an email or WordPress account, also like the Facebook page so you can stay tuned for more great content! I want to know, did you see “Minari?” What did you think about it? Or, have you ever lived in Arkansas? As a Bay Stater, I have literally no idea what is like. Is it fun? Is it boring? Please let me know! I’m genuinely curious! Scene Before is your click to the flicks!

Irresistible (2020): Just in Time for a Pandemic, An Election, and More

Posted on by Jack Drees

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“Irresistible” is directed by Jon Stewart (The Daily Show, Rosewater) and stars Steve Carell (Battle of the Sexes, The Office), Chris Cooper (A Beautiful Day in the Neighborhood, Adaptation), Mackenzie Davis (Blade Runner 2049, Terminator: Dark Fate), Topher Grace (Spider-Man 3, Interstellar), Natasha Lyonne (American Pie, Orange Is the New Black), and Rose Byrne (X-Men: First Class, Neighbors). This film is about a Democratic strategist who is trying to get someone he meets up with to successfully run for town mayor. One of big catches here is that the person of importance is running as a Democrat, and the town, which is located in Wisconsin, has maintained its conservative traditions for years.

Ah… A new movie. It’s an experience I barely get to have today, so I’ll take it whenever possible. I did not pay for this movie. I tuned in during the first few minutes as my mother rented it On Demand and I was kind of intrigued by what was going on. Gotta say, I was pretty entertained by what I saw. However, as I watched, I was reminded of a common complaint some people have about modern movies.

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Hollywood is such a magical place, where dreams come true as long as you spend spare time waiting tables. But as of recent years, it has also become a place hated by certain people because of a supposed agenda. And I am not going to deny that when it comes to today’s Hollywood culture, a lot of it is on the left. If you ask me, I really don’t care. I would still be following it if it is still on the right, I enjoy the art form of film, I don’t usually often give a crap about one’s political views. That’s why when I do the Jackoff awards every year, I usually stray away from politics. Granted, I did subtly bring up global warming one year, but that’s a human issue turned political. So that’s why I let it slide.

If you watch this movie, I don’t really think you, or too many other people would need that keen of an eye to realize that this may be somewhat done with ideas of the left. After all, the story follows a political strategist trying to get a Democrat mayor to succeed during an election. The movie makes references to our political climate today and everything surrounding it. I will also point out that there are some big jabs towards the conservative-friendly outlet Fox News. Also, these jabs had me in stitches.

Also also, CNN gets some jabbing as well, which also stuck the landing for me in terms of comedy. This movie is not afraid to go after the cable news outlets and bang em’ over the head. Those honestly may have been the most entertaining parts of the movie for me.

I will point out that this movie is a mix of comedy and drama. Both genres blend perfectly to balance each other out and they don’t feel like two different movies. This movie knows what it is. It’s funny, charming, but it also wants to get a little serious every now and then. Maybe Steve Carell has something to do with it, because I will admit, even though he may be an actor I tend to overlook, I have seen him be funny in the past, while also being dramatic in the past, and he can do both very well. To see a mix of that here in “Irresistible” is a good mix for Carell.

Honestly, 2020 may just be the pinnacle for crappy movies. I have seen a few good ones, like “Impractical Jokers: The Movie,” “Sonic the Hedgehog” (who knew I’d be saying that), and “Emma.” I have not had much time to watch movies in general, mainly because I’m not always willing to cough up a $19.99 rental for a movie that probably would be a better experience in the theater, but when I did have time, nothing really stood out this year. “Irresistible” is kind of in that camp, but if no Oscar-bait movies come out this year, this could have a shot at some awards. After all, we are in an election year here in the United States, which makes this movie incredibly topical. It has some good performances given by Steve Carell and Chris Cooper. As for Jon Stewart, this could have a shot at a screenplay nomination. Granted, I do not want to get ahead of myself as it is only June and a lot of the good movies come out in October, November, and December. However, if all those movies get delayed, I think “Irresistable” could have some potential during award season. Besides, you know how I mentioned Hollywood seems to be a bit on the left more than the right? That could be another factor in this movie’s favor! All it really needs from here is a montage making fun of Donald Trump and then it’s the perfect “Hollywood left story.” With that being said, this movie may not be for everyone, but even if you are on the right politically, there is a solid chance that you might be entertained by this from a story perspective. I mean, it is funny. Granted, a lot of the humor seems to be geared towards politics, but there is still some general humor sprinkled here and there. But given that this movie has dramatic elements to it, it does not feel overbearing.

One of the biggest compliments I would like to give to “Irresistible” is its pacing. When I get into negatives during my reviews, one of my gotos is pointing out that maybe one or two scenes feel a bit too drawn-out or too slow, maybe every once in a while the pacing is so fast that it destroys your brain. Here, the pacing is very well done. Will I remember this movie by the end of the year? Parts of it, yes. Some, maybe not. But regardless, this movie went by like a plane. Not too fast (if that makes any sense), not too slow, just right. I feel like there are going to be various scenes and characters from this movie that will probably be erased from my memory come 2021, but as of now, I enjoyed the movie enough that I don’t really care much about the future. Although… It’s 2020. I really should care about the future.

In the end, “Irresistible” is not my favorite movie this year, but a damn good time. If you really don’t like politics in your movies, you might want to sit this one out. After all, it is written and directed by Jon Stewart, who hosted “The Daily Show” until Trevor Noah took over. Before we go any further, I would like to give one last compliment towards the film, and I will say that any excuse to use “dial up Internet” within a joke is worth your time. It worked in “Captain Marvel,” which looking back, is almost the worst Marvel movie, but I liked the dial-up joke. Nice to see it here too! I’m going to give “Irresistible” a 7/10.

Thanks for reading this review! Pretty soon I am going to post my review up for “Minority Report,” the final entry to June 2020’s event, Tom Cruise Month. I hope to get it up by the 30th, but if I don’t, it’s because I’m getting sidetracked with other things. Hopefully in July I get to talk about some newer movies, and I will also point out that Regal Cinemas are scheduled to reopen on July 10th, so I plan on visiting one soon. The same goes for AMC, which is currently scheduled for July 15th. I’m not sure what I’m going to see. If it is not a 2020 film, I’m probably not going to review it, but still. Speaking of 2020 films, be sure to check out my review for “My Spy.” Be sure to follow Scene Before either with an email or WordPress account so you can stay tuned for more great content! If you want to see more movie talk from Scene Before, go like my Facebook page! Otherwise if you want more politics, go like CNN or Fox News. I want to know, did you see “Irresistible?” What did you think about it? Or, what is your favorite movie that seems to have a hint of bias behind it? Let me know down below! Scene Before is your click to the flicks!

Vice: 2018’s Biggest “Dick Pic”

Posted on by Jack Drees

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“Vice” is directed by Adam McKay (Anchorman: The Legend of Ron Burgundy, The Big Short) and stars Christian Bale (The Dark Knight, American Hustle), Amy Adams (Nocturnal Animals, Arrival), Steve Carell (The Office, Battle of the Sexes), Sam Rockwell (Three Billboards Outside Ebbing, Missouri, F Is For Family), Tyler Perry (Diary of a Mad Black Woman, Gone Girl), Allison Pill (American Horror Story, The Newsroom), and Jesse Plemons (Game Night, Friday Night Lights). This film is based on the true events, or as the movie suggests, as true as possible, revolving around Dick Cheney, a prominent figure in the US government, and his story of how he changed US history as we know it.

This film is directed by Adam McKay, a name who I do know primarily for comedy. He has done a lot of work with Will Ferrell including “Anchorman,” “Step Brothers,” and “The Other Guys.” Also, he was one of the writers for “Ant-Man.” And while “Ant-Man” may technically be regarded as an action flick with superheroes, part of me would also argue it is a comedy because like some other films in the Marvel Cinematic Universe like “Spider-Man: Homecoming” and “Thor: Ragnarok,” it has many attempts at humor riddled throughout. He seems to have recently made a transition to serious films, most notably with 2015’s “The Big Short.” No, I have not seen the movie. But with a plot revolving around the mortgage market, some serious s*it is to be expected. I will say when it comes to McKay’s direction, it’s pretty well done, but the real highlight to me when it comes to McKay’s work here is the writing, which transitions into not only one of the trippier movies of the year, but also one of the best edited films of the year. I won’t go into detail, but there is a segment where apparently they start rolling credits during the middle of the movie. F*cking brilliant. Also, this is trying to be a serious film, but also it has that feeling of a Wes Anderson-esque film. It’s serious, but it also knows when to have good old quirky fun.

I will say though, going into the film, I knew this film was already well reviewed (for the most part). It has a leading total of six Golden Globe nominations, a couple of SAG nominations, and the concept sounded like something that would generally create buzz. As for my thoughts, I thought it was pretty good, but maybe not best picture good. I mean, looking at the Golden Globes nominees, I’d probably choose “Vice” as the musical/comedy winner, but that doesn’t say a lot. I have not seen “Crazy Rich Asians,” “Green Book,” or “Mary Poppins Returns,” and as for “The Favourite,” without spilling my ultimate thoughts on it (review coming soon), it was just not as likable as “Vice.” The biggest problem I can think of when it comes to this film more than any other is that it mislead me in terms of expectations. The marketing made me think this was heavily going to revolve around the George W. Bush administration, but it is really more about Dick Cheney’s life as a whole.

When it comes to Dick Cheney, I felt this interpretation of the character was very well done, and Christian Bale could have a chance at getting some awards. I gotta also give praise to the makeup department, because HOLY CRAP. Christian Bale is in his forties right now and the makeup in this movie makes him look like he’s a lazy grandpa on a generic sitcom that never got good ratings. I watched a movie that came out last year, you guys may know what I’m talking about, “Darkest Hour,” which starred Gary Oldman. The makeup for Dick Cheney in this movie is about on par as the makeup for Winston Churchill in “Darkest Hour.” In “Darkest Hour,” you have Gary Oldman, who at the time wasn’t “young” per se, but he still looked relatively youthful given his age. In “Darkest Hour” he transformed into, well, Gary the “Old Man.” In “Vice,” the same can be said for Christian Bale, who actually happens to be younger than Gary Oldman.

Another standout performance comes from Amy Adams as Cheney’s wife, Lynne. The way they showed her off in this movie was kind of intriguing. It shows the power of a lovely husband and wife. Cheney would occasionally need to bow out from his campaign for one reason or another but his kick-ass wife would occasionally step in. Also, yes, from an acting perspective, Adams is SUPERB. I became rather invested in her character for some time, not to mention her relationship with Dick Cheney. I cared about their family, their daughter happened to come out as gay, and despite coming off as conservative, they clearly understand their daughter. I wouldn’t call this movie LGBT propaganda, which I think is cool because propaganda is something I usually don’t want in my media, but it just shows you how human people can be. Granted, this is a Hollywood movie, and Hollywood nowadays is full of liberals, so there is a good chance that there is a liberal agenda attached here somewhere, but still.

My personal favorite acting job in the movie was done by Sam Rockwell. Last year he won an Oscar for his role in “Three Billboards Outside Ebbing, Missouri,” so therefore it should be no surprise that the dude has acting chops. Honestly, I think he might have a shot at another one. He plays George W. Bush like angry ten year old plays “Fortnite.” He’s lean, mean, and he just does it oh so beautifully. Last year when I saw “Three Billboards Outside Ebbing, Missouri,” Rockwell might as well have done my third favorite acting job in that film. Here, he’s probably at my top spot. And again, the makeup department did a great job here! No debate about it.

I will say that I might have an interesting perspective when it comes to this movie because I actually grew up during the Bush adminstration. I actually wasn’t old enough to remember 9/11. My earliest memory of hearing about it was in the year 2011, when I was eleven years old and watching a commercial on Nickelodeon while “Spongebob Squarepants” was on or something like that. This movie manages to capture the fear of the 9/11 event from inside government headquarters. It also manages to showcase how Cheney was able to get s*it done, and really, he seemed to have gotten more done than George Bush. There is a scene where the two are sitting down and having chat, some time before Bush became president and Cheney just suggests he’ll deal with foreign policy, bureaucracy, whatever any normal human being would find boring about working as the president of the United States.

Also, one last thing, I mentioned that Adam McKay wrote a Marvel movie, but now it can be argued that he directed a Marvel movie. Stay for the credits because there is a good scene to watch if you pay attention. I WILL NOT go into detail, but it takes a bunch of people who are in the movie for a scene and just basically puts them in a funhouse of our modern society. Look forward to it.

In the end, “Vice” was not exactly disappointing, but it also wasn’t the “Best Picture” that the Golden Globes seems to be calling it. To me, this is another “Moonlight.” It’s good, but not “Best Picture-worthy.” I would love to however give massive kudos to the editing, writing, acting, and makeup department. Everyone affiliated with those categories, you rock, you’re awesome! There’s a good chance I’ll watch the movie again at some point, but when it comes to award-bait this year, to me, “Vice” is no “First Man.” I’m going to give “Vice” a 7/10. Thanks for reading this review! Pretty soon I’m going to have my review up for “The Favourite,” which is going to probably be my final review of the year. I want to see “Aquaman” at some point, but part of me is not sure if I’ll get to it on time before the new year begins. But speaking of the new year, be sure to stay tuned for my top 10 BEST movies of 2018 and my top 10 WORST movies of 2018. Those lists will be up once 2019 arrives. Be sure to follow Scene Before with a WordPress account or email so you can stay tuned for more great content! I want to know, did you see “Vice?” What do you think about it? Or, what do you think is going to happen at the Golden Globes this year? Let me know down below! Scene Before is your click to the flicks!