Review

The Bride! (2026): Buckley and Bale Do Their Best with This Unexciting Cinematic Enigma

Posted on by Jack Drees

Photo by Courtesy of Warner Bros. Pictures – © Warner Bros. Pictures

“The Bride!” is written and directed by Maggie Gyllenhaal (The Dark Knight, White House Down) and stars Jessie Buckley (Hamnet, Women Talking), Christian Bale (Batman Begins, Thor: Love and Thunder), Peter Saarsgard (Shattered Glass, The Batman), Annette Bening (American Beauty, Nyad), Jake Gyllenhaal (Stronger, Spider-Man: Far from Home), and Penélope Cruz (Pirates of the Caribbean: On Stranger Tides). This film is set in 1930s Chicago, at which point Frankenstein’s monster, or Frank, asks Dr. Euphronius to create a companion. Once the companion is brought to life, the film follows both creatures as they go on a wild journey together in which they become romantically involved.

“The Bride!” was on my radar ever since I saw the trailer back in October in the best possible way… On a giant IMAX screen. Any movie that is shot in the coveted 1.43:1 format, even if it is digital, has my attention. Of course, having looked at the many shots the trailer had to offer, the film definitely would dazzle in scope widescreen if I were to see it that way too. The film had a dirty, rugged, sometimes sexy feel to it that felt unlike anything I would not recall witnessing before. Sure, in terms of vibe, this film did remind me a bit of “Joker” and its severely insulting sequel, especially considering some of the crew members on those films also work on this one. Some of the names attached to this film include cinematographer Lawrence Sher and composer Hildur Guðnadóttir. But “The Bride!” appeared to have its slight differences from “Joker.” “The Bride!” seemed to lean more towards the horror route rather than a pure drama route, though “Joker” did manage to insert an eerie moment or two.

Speaking of the “Joker” movies, if you are aware of how I scored them, you would know I did so on opposite sides of the spectrum. The first was pretty positive, while the second was highly negative. “The Bride!” falls somewhere between these two projects. Frankly, this movie is kind of a hot mess. If I had to compare “The Bride!” to any other film experience in my life, the “Joker” movies are an easy target because they do have similar tones and concepts. The movie takes familiar characters and puts an odd spin on them. As much as I do not mind odd movies, this experience felt too odd at times. It was odd to the point where I did not really feel any emotion in certain scenes. Overall, Maggie Gyllenhaal puts something together that is pleasing to the eye, but at times, it strikes a vibe that feels like “Dollar Tree Tim Burton.” That is almost unfair to say because this movie was by no means cheap. Variety reports the budget is a hefty $90 million. While the film looks nice, it does not really feel nice. It reminded me of “Jupiter Ascending,” which is one of the most beautiful looking pieces of crap that someone has the audacity to call a film. One moment after another, the movie sounded like it was trying to welcome me into its environment, but as a viewer, I was consistently hesitating on the film’s invitations.

The film is not all bad. It has a decent cast, and its two leads do a fantastic job despite the average at best material given to them.

Jessie Buckley is on a roll lately. Right alongside Timothee Chalemet in “Marty Supreme,” I think she gave the best performance captured on film in 2025 through her lead outing in “Hamnet.” While her lead role in “The Bride” is not as compelling, Buckley nevertheless manages to bring a performance that makes me think I am getting a five-star meal despite slumming it in the middle of a Buffalo Wild Wings. Buckley is diabolical as the titular character. I almost cannot imagine anyone else in her shoes.

Alongside her is Christian Bale as Frankenstein’s monster. Technically his character is credited as Frankenstein, even though he is not the scientist… Anyway… The timing of this film is interesting, as it was made around the same time as Guillermo del Toro’s “Frankenstein,” which I thought was pretty good. Much like Jacob Elordi, who played the Creature in that movie, Bale is excellent here. Is he as strong as Elordi? Perhaps not. But I also feel that part of it is more the fault of the material given to Bale rather than his performance. Much like Buckley, Bale makes the most of what is given to him. This is not to say everything about his presence is bad. In fact, I really liked getting to see the two leads when they’re close as a couple. It brought out both of their wild sides and showed they have chemistry. That said, Bale’s performance did feel rather familiar. It almost reminded me of his portrayal of Gorr the God Butcher from “Thor: Love and Thunder.” It is a character who is mildly scary, odd-looking, but complicated beneath their wretched surface.

Technically speaking, this film is rather impressive. The cinematography is beautiful. The makeup work is stunning. The production design is off the charts. I bought into every location and set. When it comes to immersion, “The Bride!” really tries. Though I cannot say it always succeeds.

The color palette feels weirdly mute. Note my use of the word “weirdly.” I was convinced by the marketing that this film was going to be big and exciting. While it was definitely the former, I cannot say the same for the latter. The film looked oddly dry for something that simultaneously was trying to deliver something of utter extravagance. It is an enigma.

I am sure many people are familiar with the phrase “do not judge a book by its cover.” Bear with me as I go against this philosophy for a moment. If you look closely at the title for “The Bride!”, you would notice that it has an exclamation mark. “The Bride!” is not the first project to contain such a thing. You would notice this if you ever get a good look at the game show “Jeopardy!”, or the animated series “American Dad!”, or the movie “Airplane!”. In terms of punctuation, an exclamation mark is meant to signify an extreme. “Jeopardy!” is extremely fast-paced. “American Dad!” is extremely action-packed. “Airplane!” is extremely funny. Meanwhile, I find it difficult to come up with an extreme for “The Bride,” that is unless I were to resort to negatives. I could say the movie is extremely bland. I could say it is extremely wasted. On paper, “The Bride!” sounds like a project that should be a big ball of energy. But at times I am watching it and find myself surprised that I barely happen to be awake.

Chances are I am not going to remember much about “The Bride” by the end of the year. Part of it is because other than the visuals and the unique way of telling the story, there was nothing to write home about. Sure, the two leads are great, but never once did I feel captivated by anything the story had to offer. If I were presented the story in a pitch meeting, I think it would sell. If I saw the full picture, like what we got in this film, that is a different scenario. If anything, “The Bride!” does feel like a film that comes from a singular mind. I would have never have been able to come up with the vision that Maggie Gyllenhaal had intended. While I have one or two gripes about Warner Bros. Discovery since their merger three years ago, I will credit them for hiring filmmakers with unique visions, with Gyllenhaal being the latest example. I would love to see what other projects she has in mind, and sincerely hope they are better than what this one had to offer.

In the end, “The Bride!” is by no means the worst movie ever. In fact, part of me is glad I saw it because it has some great acting and setpieces. But from one moment to the next, I thought there was something missing. There was barely a sense of a wow factor. It is really sad I did not like this more. I was genuinely looking forward to “The Bride!”. I do not think Gyllenhaal should give up on her work behind the camera. I can see her knocking another project out of the park, but she struck out on this one. I am going to give “The Bride!” a 4/10.

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

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

Also, feel free to check out the new promo for the second episode of Movie Requests! The next guest on my list is actor Jason Mewes, who requested a movie he has watched in the past with his collaborator Kevin Smith. Make your guesses! The movie will be revealed this Saturday, March 28th! If you want to see me review whatever movie Jason Mewes asked me to talk about, subscribe to my YouTube channel and hit the notification bell that way you know exactly when the video drops! 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 “The Bride!”? What did you think about it? Or, what is the most disappointing movie you have seen recently? 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!

GOAT (2026): A Traditional Sports Animation That Dribbles at a TikTok Pace

Posted on by Jack Drees

© 2025 – Sony Pictures

“GOAT” is directed by Tyree Dillihay (Bob’s Burgers, Good Times) and Adam Rosette (Harvey Girls Forever!, The Mr. Peabody and Sherman Show) and stars Caleb McLaughlin (Stranger Things, The Book of Clarence), Gabrielle Union (Think Like a Man, Bring it On), Aaron Pierre (Mufasa: The Lion King, Krypton), Nicola Coughlin (Derry Girls, Bridgerton), David Harbour (Stranger Things, Black Widow), Nick Kroll (Big Mouth, Sausage Party), Jenifer Lewis (Think Like a Man, Black-ish), Patton Oswalt (King of Queens, Young Adult), Jelly Roll, Jennifer Hudson (The Jennifer Hudson Show, Dreamgirls), Sherry Cola (Joy Ride, Shortcomings), Eduardo Franco (Stranger Things, Booksmith), Andrew Santino (The Disaster Artist, Mixology), Bobby Lee (Inside Job, Kickin’ It Old School), and Stephen Curry (Holey Moley, Mr. Throwback). This film is about a goat named Will Harris who gets the unique opportunity to follow his dreams and play roarball with much bigger, stronger, and faster animals.

When I think of the gold standard of animation, my mind tends to dart towards Pixar. As for Sony Pictures Animation’s place in this medium, I am kind of iffy about them. As much as the “Spider-Verse” movies are masterpieces, they also come from the studio that is responsible for “The Emoji Movie,” one of the most unforgivable abominations made by man. The quality is not the most consistent from one project to the next.

I was not exactly sure what to expect with “GOAT.” I had some idea, but not quite a full picture. The film certainly looked like it took some inspiration from “Spider-Verse’s” fast-paced animation style while also finding a way to bring its own personality to the table. That said, from what I saw through the marketing, this film looked cliche in more ways than one. Having seen the movie, I can definitely say it is cliche. Depending on how many movies you have seen, some of this film’s structure is going to feel quite familiar to you. A protagonist wants to be the best at something despite what the odds suggest and what other people have to say. I have said on this blog that cliches are fine as long as a project can effectively utilize them. Having made that point, I wish “GOAT” was a better movie.

This is not to say the movie is the worst I have ever seen. In fact, when it comes to establishing characters like the scrawny Will Harris (McLaughlin) and his much stronger mentor figure Jett Fillmore (Union). The movie takes time to give them a splendid dynamic that plays out perfectly on and off the court. Their connection unleashes some cliches, but they are, again, cliches that are handled decently. You have the young, eager student willing to learn from a wiser figure who is supposedly becoming more washed-up with each passing minute. It is a traditional storytelling method, but it works.

“GOAT” is very much a product of the 2020s. In some ways, it does a good job at shining a light on people’s weaknesses and problems that define the decade. There is one gag in the film involving a character who is way too attached to their phone. I could see a joke like this playing well with parents in the audience. That said, at my screening, the person next to me, who happened to be an adult, was on their phone numerous times. I wonder how they took this lesson.

By the way, if this has not been made clear already, please put your phone away at the movies. That said, I understand not everyone carries a watch nowadays, so I have no problem if you want to check the time as long as you do not go any further to wreck my time. Turn the brightness down. Peek in your pocket. Don’t flash it heavily for everyone to see! You got it? Good. Let’s move on.

While the movie positively defines the 2020s in some ways, it also manages to define it in less stellar ways. One of my biggest problems with this film is the pacing. Granted, the movie is all killer, no filler. It dives into each and every point without skipping a beat. But for a movie that is about basketball, part of me wishes I could have seen more of it. Thankfully, unlike another so-called sports movie that goes by the name of “Him,” which I reviewed last year, “GOAT” actually dedicates a lot of time to its focal sport. That said, part of me wishes we could have spent a little extra time on the games. I am not saying that we need to see all 48 minutes of the film’s players running up and down the court, but by the time the film gets to the big game at the end, it feels much smaller in scale than it should be. It feels rushed. It feels like it wants to end before it starts. The film literally breezes through its first couple of quarters of the climactic game in about as much time as it would take me to swipe through a few YouTube shorts. There are some occasionally thrilling moments in these games, but they would probably be more exciting if the movie drew things out. “GOAT” tells a lot in a 100 minutes. I just wish I had the chance to digest the material a little more.

One reason why I tend to favor stories told by studios like Pixar is that unlike Sony, their films feel a lot less commercialized. Sure, “Toy Story” uses a lot of real life toys, “Cars” uses real life vehicles, and “Wall-E” has ties to “Hello, Dolly” and Apple. Yet those projects feel like stories rather than extended advertisements. Even in some of Sony’s better animated productions, I always notice they find a way to sneak in a commercial for one of their products. When it comes to product placement, “GOAT” is utterly shameless. The movie spends quite a bit of time showing off the PS5, creates its own 2K sports games based on roarball, makes the card game Uno a core concept of the plot, and even spends quite a bit of time featuring Doordash.

Just because this movie feels commercialized, does not mean it lacks creativity. Instead of basketball, the movie features the sport of roarball. Like basketball, it features players going up and down a court trying to put a ball through a hoop. The two sports have their differences. We do not see humans playing roarball and rather tons of different animals taking up the sport. The universe within “GOAT” seems to have a similar layout to “Zootopia” as there are no humans.

But above all, I find the roarball courts to be more interesting than anything else the sport has to offer. If you ever go to an NBA game, you would notice that each arena has its own individual quirks and home teams, but each court follows a similar structure to the next. The courts that we see through this film’s professional league sort of play like a video game. There are moments where characters have to make their way through rising surfaces, ice, fire, and so on. Honestly, if Nintendo wants to make a “Mario Basketball” game sometime soon, I think this movie would be a solid piece of inspiration.

In the end, “GOAT” is not the greatest flick. It has glimmers of goodness. Although those glimmers are rather thin. The voice cast is pretty talented and bring a lot to the table. Despite clearly being similar to basketball, the concept of roarball has sparks of creativity. While there are a couple decent moments, most of the scenes in this film feel so rushed to the point where I cannot fully appreciate the characters within them. Also, the product placement feels kind of over the top, especially considering this film is animated. As someone who is in his 20s, I sometimes think about what would happen if I had kids and I took them this movie. I think they would have a fun time with it, and for all I know it could age somewhat decently for them, but I do not know if it is going to age like a fine wine. Time will tell. As for this 26 year old loser, I think “GOAT” is a one and done for me. I am going to give “GOAT a 5/10.

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

Thanks for reading this review! My next review is going to be for “EPiC: Elvis Presley in Concert!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Send Help” and “The Bride!”. Also, this is my first film review I have published since Scene Before officially turned 10 years old. I want to thank everyone who has wasted their time reading my above average material over the past ten years.

If you want to see a video-based film review I have done, check out the first episode of Movie Requests, where I discuss Lars von Trier’s film “The Idiots,” as requested by actress Bryce Dallas Howard. It is available now on my YouTube channel, and you should absolutely positively subscribe!

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 “GOAT?” What did you think about it? Or, what an animated sports film you enjoy? Sticking with the topic of basketball, you should totally check out my review for “The First Slam Dunk.” It is a great movie, give it a watch. Scene Before is your click to the flicks!

Solo Mio (2026): Kevin James Misses the Bride

Posted on by Jack Drees

Hey you! Yes! You! Do you like movie reviews? You should! Because you are reading one right now! And TOMORROW, you can check out another! As Scene Before begins its brand new series, “Movie Requests!” You can check out the promo for the first episode now, featuring Bryce Dallas Howard requesting a film she says is “extraordinary!”

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

“Solo Mio” is directed by Charles and Daniel Kinnane, and this is their latest collaboration with this film’s star, Kevin James, after the three worked together on the straight to Netflix film “Home Team.” Alongside James, the film has a cast including Nicole Grimaudo (Medicina generale, Loose Cannons), Alyson Hannigan (Penn & Teller: Fool Us, American Pie), Jonathan Roumie (Jesus Revolution, The Chosen), Julee Cerda (The Mighty Ducks: Game Changers, Homeland), Julie Ann Emery (Absolute Dominon, Preacher), and Kim Coates (Van Helsing, Sons of Anarchy). This film follows a man named Matt Taylor, whose wedding is upended when his bride never walks down the aisle. Not only does this put an end to his marriage before it starts, but also prompts him to continue with the couple’s honeymoon activities by himself. Throughout the film, we see Taylor make the most of the situation, while meeting new faces along the way.

Life is beautiful. No. Genuinely. It is. Part of this is because of its unpredictability. As a moviegoer, I have, to quote Roy Batty from “Blade Runner,” seen things you people wouldn’t believe. Part of this harkens back to my experience with Kevin James, whose projects in recent years may not be as notable as his earlier work. Yet at the same time, his more recent efforts showcase some diversification in his resume. “Becky” was a huge surprise. Not only was the movie better than I thought it would be, but Kevin James does an excellent job in his role as the film’s antagonist. I never imagined Kevin James as a villain-type character, but that movie completely changed my mind. Also, while Kevin James may not be on the same level as Tom Cruise or Keanu Reeves, he showed some potential as an action star in last year’s “Guns Up.” Kevin James, whether he likes it or not, will always be tied to comedy. But I think he has done a good job at spicing up his resume a bit recently.

Compared to “Becky” and “Guns Up,” “Solo Mio” feels a bit more like a return to form for Kevin James. That is to a certain degree. While the film is definitely lighthearted, it does not quite have the same DNA as a typical Happy Madison project. Frankly, that works in the film’s favor. It comes close at times, but I guarantee you that this movie would have been a different animal if the crew found an excuse to put Adam Sandler in it. “Solo Mio” is a romcom, and James is no stranger to films where he seeks love, like “Paul Blart: Mall Cop.” Another example is “Hitch,” which features him playing a character who lacks the “game” in the dating game. In this film, we see James’ character, Matt Taylor, deal with his emotions and make the most of his time in Rome when the love of his life ditches him at their wedding. James also had a hand behind the scenes as one of the film’s writers and producers.

But the most beautiful story behind the scenes is not James’, but rather the family that came together to make this movie happen.

Following my screening of this movie, I did some research on the Internet about it to see what minor details would come up. Next thing I knew, I found myself on a Reddit page where one of the film’s writers, John Kinnane, was talking about how this was his first film. That would be a cool bragging right by itself, but it gets better. Turns out said writer is one of seven brothers, and the rest of those siblings collaborated on the film’s production. John Kinnane co-wrote the film alongside his brother Pat. Charles and Daniel Kinnane directed the movie. Pete Kinnane handled editing. And as for producing, Wil and Brendan Kinnane took care of that alongside their brother-in-law, Jeff Azize.

…Which is why it breaks my heart to say that this movie is okay at best.

It is difficult to find something in “Solo Mio” that outright made my blood boil, but I can pinpoint to some things in the film that did annoy me at one moment or another. Some of the supporting characters are a bit exaggerated compared to James as the lead. There is sometimes a sense of tonal inconsistency when they are on camera together. Speaking of characters, the film debatably has too many of them. I could not tell you everyone’s name on the cast. I was not fully intrigued by each character’s role in the story. By the end of the film, things become rather convoluted and random subplots feel as if they are being thrown in at the last minute.

Once again, this film was put together by seven brothers. I wonder how collaborative their process must have been. Part of me worries, given the result of this movie, that it could have been overly collaborative. Maybe John and Pat Kinnane had their own ideas of how the movie should go, but perhaps the other brothers, who, for the record, were not credited with writing the script, had their own ideas that ultimately overstuffed the runtime. While I appreciate the film’s fast pace, part of me wonders if we could have settled things down a tad and padded out the runtime to give some more depth to everything going on. Granted, I was not involved in the making of the movie. So, this may as well remain a baseless assumption. But my experience of watching “Solo Mio” reminded me of “Fackham Hall,” which I also found okay at best. That film was written by four people, two of whom happen to be brothers. Sure, like “Fackham Hall,” some things work in “Solo Mio,” but at a certain point more than halfway through, the film overcomplicates itself and almost becomes something it probably should never have been in the first place.

The film has its attempts at humor, but if I had to average everything out, the film lands somewhere around the middle in terms of landing all its jokes.

Yet for all the film’s faults, the film has one aspect that is worth the price admission. There is a celebrity who happens to play themself that made the movie for me. The appearance, which if you ask me, is way too long to be considered a cameo, does require some suspension of disbelief. But if you can live with that, you are in for a treat.

I had one big question regarding “Solo Mio” going into it. How preachy would this film turn out to be? I asked this to myself because I did some research prior to my screening and found out the film was being distributed by Angel Studios, which is a company that tends to have an association with Christian or faith-based projects. Having seen this film, most of it comes off as if it lacks a religious identity, though there is one scene at a dinner table that does have an ongoing gag about prayer. The film does not appear to accuse or shame anyone of having a different viewpoint. That said, when it comes to the romantic connections in this film, there appears to be more of a focus on love rather than lust. If you are looking for something that lacks the filth of “Wuthering Heights” at this time of year, then “Solo Mio” may be for you.

I should also note that the film is G-rated, so this film may be okay for the younger crowds too. That said, I do not think every kid is gonna round the block for a ticket to see this. In fact, at my screening, which was about three-quarters full, I may have been the only person in the auditorium under 30.

In the end, I cannot quite say “Solo Mio” is in fact… for me-oh. There are things to like about this film. Kevin James gives an okay lead performance. Some of jokes are funny. There is a certain arc involving Ed Sheeran I thought was well realized. The unnamed celebrity appearance is a highlight. The movie has a compelling hook, I just wish the rest of it were as smooth as what it was at the start. It feels weird to say as someone living in the 2020s, where just about everything is at my fingertips, but I thought “Solo Mio” might have been too short. I congratulate the family who came together to make the film of their dreams, and I am rooting for them to hopefully churn out another project sometime in the future. I just hope whatever they do next is an improvement over this. The film is not bad, but definitely not perfect. I am going to give “Solo Mio” a 6/10.

By the way, this is not my first exposure to the Kinnane brothers. Years ago, they created a series of online videos called “Sound Guy,” where its titular character reacts to popular movie scenes while said scenes were being made. The series, like this movie, also starred Kevin James. The videos are often quite funny, including this one where the sound guy gets early access to the big twist in “The Empire Strikes Back.” If you ever have a chance to check the videos out, please do. They are such a riot, especially if you are a film fanatic like yours truly.

“Solo Mio” is now playing in theaters. Tickets are available now.

Thanks for reading this review! And as a reminder, Movie Requests begins tomorrow! And if you are following Scene Before already, you will get access to the first episode as soon as it is posted here, but the fastest way to check out the episode is to be subscribed to my YouTube channel! If you have not subscribed yet, do it now!

My next reviews in terms of new releases are going to be for “GOAT” and “EPIC: Elvis Presley in Concert.” If you are a fan of acronyms, this is a good time to be alive! And if you are a fan of movies and people who talk about them excessively, follow Scene Before either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Solo Mio?” What did you think about it? Or, what is your favorite performance of a celebrity playing themselves? For me, as much as I do not think it is Kevin Smith’s best film, Stan Lee in “Mallrats” was beautiful to see. I love his scene. Also, Bob Barker in “Happy Gilmore” is freaking riot. Let me know your favorite celebrity appearances 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!

Movie Requests – Meet the Guests!

Posted on by Jack Drees

Hey everyone, Jack Drees here! We are 10 days away until the first episode of Scene Before’s brand new video review series, Movie Requests!

For those who have not gotten the memo, the series is no longer going to be called Celebrity Movie Requests, and instead, will simply be known as “Movie Requests.” This is not going to change the lineup of the series or anything that goes into making it. I just think the name flows off the tongue better.

Movie Requests is being published in honor of 10 years of Scene Before. Last year, I asked 10 people what movies they think I should talk about, and each person came up with their unique response. You have seen these people in movies, television, perhaps even the Internet. Each one has a claim to fame as unique as their taste in film. I asked each guest if I could feature them in a 10 second video requesting their movie, and from that point, I will watch the movie, and provide my honest thoughts.

Some of you might wonder, what movies will I review in this series? That is a good question that will be answered in each video. I will leave that as a mystery. But one mystery has been revealed, and that is the list of special guests who just so happened to request said movies! Ladies and gentlemen, here is a dive into the ten guests who will be featured in Movie Requests!

Rosario Dawson

Please welcome actress Rosario Dawson! Rosario Dawson is a performer whose credits date back to the 1990s. Some of her most notable movie credits include the “Clerks” franchise, “Sin City,” “Rent,” “Unstoppable,” and “The LEGO Batman Movie.” Her work in the film “Top Five” earned her a Critics Choice nomination for Best Actress in a Comedy. Dawson has also made her presence known on streaming TV, like in Netflix’s “Daredevil.” In recent years, she has played the live-action version of Ahsoka Tano in the “Star Wars” franchise. This also includes her starring role in the series “Ahsoka,” now streaming on Disney+.

Sandi Harding

Be kind and rewind! Also, be kind enough to welcome Sandi Harding to the series! Harding is the manager of the last Blockbuster Video on the entire planet. As of this publication, the store is still standing. She was also the primary subject of the documentary “The Last Blockbuster,” which dives into her role at the store as well as her reaction to the chain’s continued decline. Harding also takes Blockbuster on the road to various events as part of The Blockbuster Experience, which allows customers to relive the days of the video store and maybe take home a movie or two.

Chris Hardwick

He’s geeky! He’s funny! He’s an all around welcoming guy! It’s none other than Chris Hardwick! His large resume ranges from being an actor to a TV host to a standup comedian. You can find Hardwick in films including Rob Zombie’s “Halloween II,” “A House of 1000 Corpses,” and “Terminator 3: Rise of the Machines.” Hardwick has also lent his voice to multiple animated productions. One of these includes Nickelodeon’s “Back at the Barnyard,” where he plays Otis the Cow, originally voiced by Kevin James in the film that inspired the show. His hosting gigs include “Singled Out,” “@Midnight,” and “Talking Dead.” Since 2016, Hardwick’s hosted NBC’s high-stakes game show “The Wall,” which premiered its sixth season back in January. As of this publication, Hardwick is preparing to shoot a standup comedy special called The Middle Ages. If you are in the Nashville area and want to laugh, you can request tickets to see the show through 1iota.com.

Bryce Dallas Howard

She’s kissed Spider-Man, fended off dinosaurs, and continued her family’s cinematic legacy. Please welcome Bryce Dallas Howard! As the eldest daughter of “Happy Days” star turned director Ron Howard, this actress has found herself garnering the attention of several big name filmmakers from M. Night Shyamalan to Sam Raimi to Matthew Vaughn. Franchise fans know her face from “Spider-Man 3” and “Jurassic World.” Some of her most recent acting credits include Apple’s “Argylle” and the Prime Video original movie “Deep Cover.” Shared alongside her fellow castmates of “The Help,” Howard has won the SAG Award for Outstanding Performance by a Cast in a Motion Picture during the 2012 ceremony. She would go on to be nominated for her own performance in TV’s “Black Mirror” during the 2017 edition of the SAGs. Howard has continuously developed herself as a director, having helmed several short films, a couple documentaries, as well as episodes of various “Star Wars” shows.

Jason Mewes

Bickety-bam! Jason Mewes has entered the chat! Best known as Jay in the View Askew universe, Mewes has graced the screen as the cinematic loudmouth time and time again, yet with consistent charisma and energy throughout each go. You can find Mewes as Jay in the “Clerks” trilogy, “Mallrats,” “Chasing Amy,” “Dogma,” “Jay and Silent Bob Strike Back,” and “Jay and Silent Bob Reboot.” Much like his frequent collaborator, filmmaker Kevin Smith, Mewes is born in New Jersey, and has filmed productions in his home state and beyond. Mewes and Smith have forged an excellent partnership as Jay and Silent Bob, most recently seen together in “Clerks III.” You can also find Mewes on Twitch playing games like “Call of Duty,” “Fortnite,” and “Apex Legends.”

Joel David Moore

He’s played dodgeball. He’s talked to blue people. He’s Joel David Moore! Born in Portland, Oregon, Joel David Moore studied acting in college, and later landed his first major role as Owen Dittman in “Dodgeball: A True Underdog Story.” Joel David Moore also appeared in all three “Avatar” movies as Norm Spellman, the first of which remains the highest-grossing movie of all time. The second film, “The Way of Water,” earned more than $2 billion at the global box office. “Fire and Ash,” which is now in theaters, has also joined the billion dollar club. Moore also made his presence known on television through shows like Fox’s “Bones” and ABC’s “Forever.”

Brian O’Halloran

Despite popular belief, Brian O’Halloran is in fact supposed to be here today! Much like Jason Mewes, Brian O’Halloran is a regular in Kevin Smith’s films. Best known for starring as Dante in the “Clerks” trilogy, O’Halloran’s character often captures the realities of working in retail, whether it is at a convenience store or a fast food joint. Some of O’Halloran’s other works directed by Smith include “Mallrats,” “Jay and Silent Bob Strike Back,” and “Jay and Silent Bob Reboot.” Last year, he appeared as a contestant during the third season of Fox’s game show “The Floor.”

Michael Rooker

He’s Mary Poppins, y’all! He also happens to be Yondu! In real life, you can call him Michael Rooker. Early in his career, Rooker was known as the star of “Henry: Portrait of a Serial Killer,” which was made in 1986, but did not release until 1990 due to its controversial nature. From there, he would continue his prolific acting journey through films like “Mississippi Burning,” “JFK,” “Mallrats,” “The Belko Experiment,” and “The Horizon Saga.” Rooker has lent much of his career to working alongside director James Gunn through “Slither,” “Super,” “Guardians of the Galaxy,” “Guardians of the Galaxy Vol. 2,” and “The Suicide Squad.” Rooker also had a small role in James Gunn’s latest film, “Superman.” On television, Rooker is known for his role as Merle Dixon in AMC’s “The Walking Dead.”

Katee Sackhoff

Science fiction nerds, you are in for a treat. Katee Sackhoff is frakin’ here! On television, Sackhoff is known for starring on the 2000s reboot of “Battlestar Galactica” as Captain Kara “Starbuck” Thrace. Since 2012, she has also played a notable role in the “Star Wars” franchise as Bo-Katan Kryze. Her “Star Wars” credits include “The Clone Wars,” “Rebels,” “Tales of the Empire,” and “The Mandalorian.” Some of her other television credits include “The Flash,” “24,” “Another Life,” and “Robot Chicken.” Sackhoff’s film credits include “Halloween: Resurrection,” “Riddick,” “Oculus,” and “Fight or Flight.” You can also listen to Sackhoff interview celebrities through her podcast, “The Sackhoff Show.” You can find it wherever you get your podcasts, as well as her YouTube channel.

Amy Sedaris

And finally, we have the funny and talented Amy Sedaris! While many know her through film and television, Sedaris got her start in comedy through the Second City in Chicago. Whether it is the three seasons on television, or the movie that followed, Sedaris is known for her role as Jerri Blank on “Strangers with Candy.” She wrote, produced, and starred in truTV’s “At Home with Amy Sedaris,” a zany and comedic look at entertaining, crafts, and cooking. The show was nominated for four Primetime Emmys, with Sedaris garnering two of those nominations, specifically for Outstanding Variety Sketch Series. Some of her film credits include “Elf,” “Jennifer’s Body,” “Chef,” and “Is This Thing On?”. Her “Star Wars” character, Peli Motto, has been featured in two of the franchise’s shows, including “The Mandalorian” and “The Book of Boba Fett.” Sedaris also has tons of voiceover experience through films like “Chicken Little,” “Puss in Boots,” “The Boss Baby: Family Business,” and “Smurfs…” As well as television shows like “BoJack Horseman,” “Star vs. the Forces of Evil,” “DuckTales,” and “Dicktown.”

Right now, there is no concrete episode by episode schedule for the series, though the plan is to do at least one episode every month. The schedule is subject to change, and more episode dates will be available soon.

The first episode of Movie Requests will be available on my YouTube channel and Flicknerd.com Saturday February 28th, and I am pleased to announce the first guest of the series will be Bryce Dallas Howard! What movie did she request? You’ll have to find out. Do me, and yourself a favor by subscribing to my YouTube channel and hitting the notification bell, that way you will see new episodes of Movie Requests as soon as they drop. Be sure to follow Scene Before either with an email or WordPress account to be notified on all the latest the series has to offer. Also, check out the official Facebook page!

And in case you missed out on the official trailer for Movie Requests, which I premiered earlier this month during the 8th Annual Jack Awards, click the video attached above to check it out!

Now that you know who is in the series, what movies do you think each celebrity chose? Leave your comments down below! Scene Before is your click to the flicks!

Train Dreams (2025): One of 2025’s Most Atmospheric Films

Posted on by Jack Drees

Just a note before we begin this post…

For those who missed it, I finally announced the guests that are going to be featured in my upcoming video-based film review series, Movie Requests. In honor of Scene Before’s tenth anniversary, I asked ten people if they wanted to be in a ten second or so video where they request a movie for me to review. The ten guests you see here agreed and gave me their unique suggestions.

The guests are…

  • Rosario Dawson
  • Sandi Harding
  • Chris Hardwick
  • Bryce Dallas Howard
  • Jason Mewes
  • Joel David Moore
  • Brian O’Halloran
  • Michael Rooker
  • Katee Sackhoff
  • Amy Sedaris

I want to thank each and every one of these guests for participating in this series, it means the world. I cannot to watch all of your movies. I am also pleased to announce that this series starts Saturday February 28th and will feature Bryce Dallas Howard, as well as a review of the movie she requested! The video will be shared here on Flicknerd.com, but if you would like to see it as soon as it comes out, then please subscribe to my YouTube channel! I also recently put out a trailer for the series. If you would like to check it out, click the link here and give it a watch. I hope you are looking forward to the series, and now onto your regularly scheduled programming!

© 2025 Netflix, Inc.

“Train Dreams” is directed by Clint Bentley (Jockey, Sing Sing) and stars Joel Edgerton (The Gift, The Great Gatsby), Felicity Jones (Rogue One: A Star Wars Story, The Brutalist), Nathaniel Arcand (FBI: Most Wanted, The Birds Who Fear Death), Clifton Collins Jr. (Jockey, Triple 9), John Diehl (The Shield, Miami Vice), Paul Schneider (George Washington, The Assassination of Jesse James by the Coward Robert Ford), Kerry Condon (The Banshees of Inisherin, Night Swim), and William H. Macy (Everyone’s Hero, Fargo). Based on Denis Johnson’s novella of the same name, this film is about Robert Grainier, a logger and railroad worker. Throughout the film we get to see the journey of his life, as well as his perspective of the world as it changes around him throughout the early 20th century.

This review is coming to you about a month before the 98th Academy Awards, which, per usual, will recognize 10 Best Picture nominees. Each and every year, I try to catch all the nominees before the show. My degree of success for such a task tends to vary from one year to the next. As soon as this year’s nominations dropped, “Train Dreams” was the one Best Picture nominee I needed to see. Flash forward to a little more than a week later, I am sitting in a theater to check out the film, presented on a 35mm print. I could have checked this movie out in 2025, but “Train Dreams,” for whatever reason, was never on my radar. If I had to guess a reason, it is partially because Netflix is not that good at marketing their content, unless said content is called “Stranger Things” or “Squid Game.” While I do not recall seeing any trailers or ads for the film, “Train Dreams” is one of those movies whose word of mouth from audiences would find its way into my social media feeds, all of which seemed to be positive. Plus, when it comes to streaming services, Netflix is not usually my goto, so there is that.

That said, “Train Dreams” is quite good. There is a lot to like about this movie. First off, the cast is amazing. Everyone is well placed in their role and plays their part well. Unfortunately, I do not think anyone from “Train Dreams” is going to win an Oscar following their performance. Although everyone here deserves their flowers. Joel Edgerton and Felicity Jones in particular are standouts. Not just because they have arguably the most name recognition of everyone in the cast, but because they feel at home in their respective roles. As a couple, the two have great chemistry and I really enjoyed any scene where the two happened to be together. For the record, before seeing this movie, I did not look up a whole ton about it. If I did see the cast, I barely skimmed it. I have seen Joel Edgerton in other movies like “Red Sparrow,” and having seen him in projects like that, I felt a sense of shock based on my experience of watching “Train Dreams.” I could not believe this whole time I was watching him. One of the grandest compliments I can give an actor is to say that their performance is a transformation. I did not see Edgerton in Robert Grainier’s shoes. I just saw Robert Grainier.

Another thing I love about this movie is the general progression of the story. At times, this is not so much a movie as much as it feels like an extended journal. For whatever reason, it almost comes off like a documentary rather than a feature narrative with actors. It dives into several chapters of one’s life, with each chapter delivering something interesting in its own way. If anything, this film made me think about the beauty of life, and the magic of seeing the world change right before your eyes. Whether that change is good or bad is another conversation for another time. But this film takes me back to when I was 9, 10, 11, 12 years old and I would think about my future. I am pretty sure many kids within the last 50, 60 years have asked themselves when things like flying cars would exist. At times, seeing Grainier working in railroad construction had a vibe that basically screamed something along the lines of “the future is now,” even if this movie was set many years ago.

I have been a student of film going back to my teen years. In high school, one of the classes I had been blessed with taking for four years straight was TV production. One of the first things the teacher taught us in that class is about the rule of thirds. This is a traditional method used for framing subjects. A good example is when you see two people having a face-to-face conversation. In cases like these, you often see the main person in a shot on one side of the frame, with their head often nearing the top depending on how close the angle is. When the other person is on screen, this is also the case, but mirrored. This film manages to break that rule on a frequent basis. Several shots are set to the point where the subject is on the lower portion of the frame, allowing for images that focus more on the film’s natural beauty towards the top. Could this film have been done as well with a greater use of the more traditional rule of thirds? Perhaps. That said, I have no problem with the way this movie is shot. Every frame looks gorgeous and the way the shots are pulled off allows me to focus more on each scene’s environment. It kind of reminded me of seeing a movie shot on IMAX film like “Sinners,” which has a series of eye-popping shots that reveal more of the movie’s neat locations and sets.

In fact, the film’s aspect ratio also falls into the rulebreak territory. The film is presented in 1.5:1, which is not quite widescreen, but it is also wider than the old school 4:3. Perhaps that is why the film reminded me of a true IMAX experience, because it is formatted fairly close to the ratio for IMAX film, which is 1.43:1.

“Train Dreams” does not exactly fall within the stereotype of what I consider to be a “Netflix movie.” This is not to say that Netflix cannot churn out an artsy title like “Roma,” but “Train Dreams” feels much less manufactured and reliant on star power than say “Red Notice,” which I do not understand why it is still popular today. Though I did recognize Felicity Jones as soon as she appeared. Also, the film has narration, which one could argue may serve as an aid to second screen viewers, or to the people who use the movie as background noise. That said, if I were a Netflix executive, and I were to think about this movie as a product of its streaming service, I would say one of the main reasons people would wind up watching the movie is due to its sense of atmosphere. It is a film in every other frame, sucks you in to the point where you end up being part of its world. The film, despite being eventful and sometimes packing a punch with its sound mix, feels like it is on the quieter side. It is a film that if it were late at night, that I could see myself putting on to help me fall asleep. I am not saying this in the sense that the movie is boring, but rather that it is soothing. I never use anything like the Calm app to put me to sleep at night, but “Train Dreams” sounds like a nice alternative as a sleeping aid. Heck, it literally has “Dreams” in the title! I guess you actually can judge a book by its cover!

In the end, “Train Dreams” is a superb movie. I have very few, if any complaints about it. There may be a scene or two that did not connect with me as much as certain others. Maybe some of the supporting characters are forgettable. Perhaps I would be able to appreciate those things more during a rewatch. Then again, this movie reminded me of life itself, and I admit, there are likely people in my life who may have stood out 10, 15 years ago whose names I would not be able to tell you now. The film, just like life itself, moves fast. There is not a moment in the movie’s runtime that feels like filler. The film is beautifully shot, terrifically acted, and Clint Bentley brought a killer vision to life. Not only did he do a good job directing the film, but he did just as good of a job writing it. I should not be surprised, as this is his latest screenplay collaboration with Greg Kwedar. Prior to this film, both of them penned the brilliant and emotional “Sing Sing.” While I am not sure that “Train Dreams” is going to have as big of an impact on me as “Sing Sing” did, I think this is yet another exciting addition to both writers’ resumes. If you have Netflix, or if this is playing somewhere near you, go check out “Train Dreams.” I recommend it. I am going to give the movie an 8/10.

“Train Dreams” is now playing in theaters and is available on Netflix for all subscribers.

Thanks for reading this review! My next reviews are going to be for “Arco” and “Solo Mio.” Stay tuned! Also, I want to thank everyone who read the 8th Annual Jack Awards, and I want especially thank those who read all 11-thousand words of it. You guys have earned yourself a much deserved pat on the back. Thanks for your support and I am honored to continue one of Scene Before’s traditions! If you want to see my upcoming 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 “Train Dreams?” What did you think about it? Or, here is a two part question… What movie do you think will take Best Picture at the Oscars this year? And… What movie do you want to see win Best Picture at the Oscars this year? Personally, I think “One Battle After Another” will take the win. It has a great lead performance, excellent technical aspects, an amazing supporting cast, and it is in some ways a relatable concept. That said, if I had to pick a favorite amongst the nominees, I would say that “Sinners” might be the one. The film has gotten a decent amount of replay value from me since I first saw it in April. Leave your comments down below! Scene Before is your click to the flicks!

Mercy (2026): Exactly What You Will Beg for by the End of This Near Futuristic Slog

Posted on by Jack Drees

© 2025 – Amazon MGM Studios

“Mercy” is directed by Timur Bekmambetov (Profile, Wanted) and stars Chris Pratt (Guardians of the Galxy, Jurassic World), Rebecca Ferguson (Reminiscence, Dune), Kali Reis (True Detective: Night Country, Catch the Fair One), Annabelle Wallis (Annabelle, Peaky Blinders), Chris Sullivan (Guardians of the Galaxy Vol. 2, This is Us), and Kylie Rogers (The Whispers, Home Before Dark). This film is set in the near future and follows LAPD Detective Chris Raven, who is put on trial for his wife’s murder. Tied to a chair with no escape, Raven has 90 minutes to prove to an A.I. judge that he is innocent. If he cannot prove himself in time, Raven will face execution.

January… It’s cold. It’s uneventful. And the newly released movies sometimes have you begging for mercy. Interestingly enough, one of the films that released last month just so happens to be called “Mercy.” I saw the trailer one time in IMAX, and I wanted my two minutes back. I am sad to say that, because it stars people I like, including Rebecca Ferguson as an A.I. judge. Leading the charge is Chris Pratt, an actor I also like, depending on what he does. He can be charismatic, but not every role of his has the personality of Star Lord.

That said, this film, from the trailer, looked incredibly lazy. Most of it is set in one location, where we see Chris Pratt’s character strapped to a chair, trying to convince an A.I. judge that he is innocent. The whole idea feels like a slightly more ambitious variant of Prime Video’s “War of the Worlds,” which mostly features Ice Cube staring at a screen. I have also heard some comparisons to “Minority Report,” but this did not look like Spielberg to me…

I ended up seeing “Mercy” in a Dolby Cinema at my local AMC. For those who have never gone to a Dolby Cinema, I believe it is the most immersive non-IMAX way to watch a movie, and you should absolutely check it out.  But I would strongly recommend not wasting money on Mercy regardless of the format. This even applies for a standard matinee or bargain Tuesday price. If there is a movie that is worse than “Mercy” that comes out this year, then I might as well organize a funeral for the concept of imagination.

“Mercy” is unimaginative. Not necessarily because it takes elements from superior films like “Minority Report” and “Searching,” though that notion does play a factor. But as I watched “Mercy,” I felt the same way about it that I felt about “Smurfs” last year, which is that this probably should have gone to streaming. The very idea of this movie sounds exactly like something that was intended for Prime Video, after all it is from Amazon. But I guess someone, somewhere, had just enough faith in the project to put it in cinemas. Then again, it is January, where the collective faith in cinema is about as tiny as the chance of playing through Cuphead for the first time and not dying once.

Another reason why this film felt like straight to streaming slop was because of the dialogue. While the dialogue may not be the worst I have ever heard, there would be a line almost every other minute that seems to be designed for people watching movies and using another device at the same time. You ever watched a movie where a character says something out loud that they probably would more likely be saying in their head? “Mercy” has a couple of those moments.

Also like “Smurfs,” if there happened to be any reason why “Mercy” was put in theaters in the first place, it is probably because of the actors. Not everyone in this film is super well-known, but Chris Pratt has starred in several billion dollar movies. Rebecca Ferguson has made a name for herself in the “Mission: Impossible” and “Dune” franchises. Putting these two box office stars in the same project seems like a winning combo. Then unfortunately, the movie happened.

I am not going to pretend that Chris Pratt is the best actor working today, but every once in a while he can be charming, like in “The LEGO Movie” or “Guardians of the Galaxy.” That said, as this movie started, I was actually surprised by how much Pratt’s character, Chris Raven, captivated me with his performance. His character did not want to be in his current situation and Pratt did an excellent job at capturing that. Sadly, the best moments of his performance are towards the beginning of the film, but I would not say that is entirely his fault. The more I think about it, one could argue the middle of the film, where we dive deeper into the character’s alcoholic tendencies, also makes for some meaty material, but still. This is not Pratt’s best work. Yet I would not say that this movie was capable of delivering his best work. His work here is perhaps as good as the script allows, considering how most of his performance is just sitting in a chair. It is not as physical or action-packed as some of his other movies.

Courtesy of Amazon MGM Studios – © 2025 Amazon Content Services LLC. All Rights Reserved.

Starring alongside Chris Pratt is Rebecca Ferguson as an A.I. judge named Maddox. This may be controversial, but I do believe actors are capable of giving performances where it does not sound like they are trying. Ferguson in this case, believe it or not, does sound like she is trying her best with her given character. That said, as I watched this character, it felt like someone, or arguably something, that any actor could play. I am not saying that an A.I. should play this character. But based on what I could only assume is the direction of her performance, Ferguson often comes off as flat. Perhaps that is the point. Robots naturally do not sound as lively or expressive as people. In fact, this movie establishes the judge’s inability to feel or emote. If my review for “Bugonia” suggests anything, I can understand the film’s intent while also finding myself incapable of appreciating it. That said, this film lacks personality, kind of like Ferguson’s character. It is not to say the film did not make me feel anything. After all, it did make me sleepy. So, there’s that.

There are some movies that sound engaging on paper or in a pitch meeting. The more I think about the behind the scenes stories of “Mercy,” the more I imagine this film sounding incredible as a pitch, especially in this modern era. There is a common belief that most audiences want fast-paced content that can be told in as little time as possible. Personally, I do not care what the runtime of a movie is as long as every essential bit of the story can be effectively told in said runtime. “Mercy” is a film that likely delivers a solid first impression when being explained in a meeting or over dinner at a restaurant. Yet the movie itself, for whatever reason, comes off as lazy and uninspired. To further my point, this is a film that is honestly at its best when it begins. We see Raven extremely afraid of his current situation and what’s to come, but with each new point that is introduced, the film becomes increasingly convoluted and dull. It was difficult for me to care about the people connected to Raven in his life. By the time the film gets to the climax, I could not feel the stakes or emotions no matter how hard the movie tries give me those things. I do feel one thing though, and that is regret. Specifically, the regret that I wasted my time on this so-called movie, and I literally could have been doing anything else at 4 o’clock on a Saturday afternoon.

In the end, do not waste your time with “Mercy.” This is a movie that is about as engaging and riveting as court itself. Not very. It disappoints me that this film is so bad, because again, this movie reminded me of “Searching,” which is part of the screenlife style of filmmaking. I like that movie. This film’s director, Timur Bekmambetov, happened to produce that movie. In fact, that is not his sole screenlife credit, as he directed “Profile,” which I reviewed years back and gave a positive score. If you were to ask me what happened in “Mercy” a couple years from now, who knows, I might struggle a bit. However, if you were to ask me how the movie made me feel, I would say “bored,” “tired,” and “frustrated.” “Mercy” is one of the worst movies I have seen in some time, and I am going to give it a 2/10.

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

Thanks for reading this review! Next week is the 8th Annual Jack Awards! It is the latest edition of Scene Before’s yearly celebration of cinema, where this time, we pay tribute to the movies of 2025. There will be awards, comedy bits, and more! Stay tuned! And if you want to play a role in this year’s show, CLICK THIS LINK TO VOTE FOR BEST PICTURE! The list is mostly based on my top 10 BEST movies of 2025. Your favorite movie cannot win if you do not vote! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Mercy?” What did you think about it? Or, what is the worst movie you watched in recent memory? Let me know down below! Scene Before is your click to the flicks!

Song Sung Blue (2025): Pack Up the Babies and Grab the Old Ladies, and Everyone Else For That Matter

Posted on by Jack Drees

“Song Sung Blue” is directed by Craig Brewer (Dolemite Is My Name, Coming 2 America) and stars Hugh Jackman (X-Men, Real Steel), Kate Hudson (You, Me, and Dupree, Glass Onion: A Knives Out Mystery), Michael Imperioli (The Sopranos, Oh Canada), Ella Anderson (The Glass Castle, Henry Danger), Mustafa Shakir (Brawl in Cell Block 99, Love Hurts), Fisher Stevens (Succession, Key West), and Jim Belushi (According to Jim, Saturday Night Live). Inspired by true events as well as a documentary of the same name, this film is about Lightning and Thunder, a husband and wife Neil Diamond tribute act. The story explores the couple’s relationship and adventures in performing.

Courtesy of Focus Features. ©  – © 2025 Focus Features, LLC. All Rights Reserved.

I was first alerted to “Song Sung Blue” by my mom, back when she told me she wanted to see what she referred to as “the Neil Diamond movie.” Color me shocked and surprised, I figured if there were a Neil Diamond movie, I would have known about it. Not that I am huge Neil Diamond fan or anything, but I figured I would have seen a trailer or even read an article about it through Variety or some other outlet. While I was not surprised to find out there was no Neil Diamond biopic coming soon, I was surprised, however, to see that we were getting the movie that we would come to know as “Song Sung Blue.” I thought the concept for this was somewhat refreshing.

We live in a world where we frequently get some variation of a musician biopic like “Bohemian Rhapsody” or “Elvis” or “Back to Black.” While it is fun to see how select big name musicians rose to fame, there was a novelty to the concept of “Song Sung Blue,” because it is not about Neil Diamond and rather two people paying tribute to him. On the surface, this film felt like a small wonder. Granted, it also has two big name leads, so there is that. Then came my screening of “Jay Kelly,” where I saw the trailer for the first time. While I did not think the movie would reinvent the wheel, the trailer made the movie come off like it would be loads of fun. I was planning to see it when it came out on Christmas, but my aspirations did not quite work out, hence the late review. That said, there is a saying that good things come to those who wait. Not to say that I had low expectations for “Song Sung Blue,” but it is still amazingly better than I thought it would be. This film is a rollercoaster in every sense of the word. I was fully engaged for its two-plus hour runtime and it is simply one of the best experiences I had watching a film revolving around music.

When it comes to music-based films, “Song Sung Blue” may not go down in history for being as masterful as “Whiplash,” but its script allows for loads of fun while also allowing time to put the audience’s emotions through the ringer. I went to see this film at an 11:15 am screening, where I was more than likely the only person there under 30. That said, this movie knows no age. I mean… Who doesn’t like Neil Diamond? Or, even if you do not like Neil Diamond, I would even argue this movie is ball, because it revolves around two completely likable, sometimes quirky characters. After all, name me an artist who is not quirky.

I am not going to pretend all of the dialogue is Oscar-winning, granted, a lot of it is really good, but there is a cheesy line here and there. If anything, the script contains dialogue that made me believe that these characters themselves were real. It is dialogue that made me think that this is exactly how these characters would talk. Maybe they differ slightly from their real life counterparts, but even if they did, they allowed me to believe that they could exist. The sometimes exaggerated dialogue is part of these characters’ charm. It is part of who they are as storytellers, artists who are trying to give joy to those around them. It reminds me of myself as an artist sometimes.

© 2025 Focus Features, LLC. All Rights Reserved.

The screenplay, by itself, is a compelling idea. Although its execution is just as good, if not better. One thing that separates this film from those aforementioned musician biopics is that if you look at those films, we see certain artists showcase their talent and find great success and riches out of it. “Song Sung Blue” focuses on two people who are simply trying to get by. They do not have loads of money. They do not have a nice house. Seeing their constant struggles to make ends meet only made both of these people more relatable and likable. Sure, they were chasing after fame and fortune, but they came off as people who found joy in each little moment they had, even if they were not Hollywood hotshots.

While I really enjoyed this film, I also realize some creative liberties were taken for the sake of telling a particular narrative. I had not seen the documentary prior to checking this movie out, nor did I know much about this couple in advance. That said, I do not have that much of a problem with this movie and the way it tells its story. For the record, given how much I enjoyed the movie and the story behind it, I ended up checking out the documentary of the same name the day after I saw the feature film. First off, I fully endorse the documentary. Check it out if you get a chance. The film does a good job at presenting a fascinating slice of the main couple’s lives. Second, having watched both the feature film and documentary, I recognize that the feature film takes some creative liberties. For example, the documentary features a story about its subjects’ relationship to smoking. “Song Sung Blue” is PG-13, therefore it should not be a huge surprise that smoking does not play as significant of a part in the film’s story. Alcoholism does play a notable role in Mike’s journey, however, and I thought the film does a good job with that particular aspect. The film sees Mike attending AA meetings as well as celebrating “sober birthdays,” or anniversaries celebrating the end of his alcohol consumption.

“Song Sung Blue” may have my favorite concert scene in film since “Belle.” I will not spoil the movie, partially because you should see it, but not only is the scene itself immersive when it comes to the sound mixing that perfectly blends the music and the audience reactions together, but there is so much going on in this scene in terms of conflict. Something happens to Mike, also known as Lightning, prior to the concert and it makes what should be an incredibly fun scene, also arguably the scariest thing ever. I was so nervous as to what was about to go down.

With this film being about lesser known artists, it does feel somewhat ironic that Hugh Jackman and Kate Hudson were cast to play their characters. That said, I have no problem with it. Both actors by themselves are talented. As for their work in this film, both are on their A-game, and their chemistry as a couple is terrific. Kate Hudson in particular gives my favorite performance in the movie, because her character, Claire, also known as Thunder, is going through so much more than her artistic struggles. The film gives Hudson some compelling material to work with around the halfway point based on a significant injury. I am not saying any other actor would have been incapable of playing these characters, but these two stars give some of the best possible performances that a story like this could allow. Both Jackman and Hudson are equally adorable and even make the film’s cheesier moments feel earned.

Depending on which part of the movie we are talking about, watching “Song Sung Blue” is like watching a really good “Spider-Man” movie. In addition to the story being a whole lot of fun, the musicians it chooses to center around are some of the most relatable that I can recall seeing in a film. The script sometimes feels goofy, but in a charming way. In fact, the movie starts with Mike, showing off his jacket with a lightning bolt on the back. When he puts that jacket on, he sort of feels like a superhero. In fact, doesn’t the name Lightning and Thunder sound like a heroic duo? Also, like some of my favorite “Spider-Man” movies, like “Spider-Man 2” or “Spider-Man: No Way Home,” the film is perfectly paced and is capable of delivering on the emotions. When I look back at “Song Sung Blue,” I will remember it for being one of the most gleeful cinematic experiences I had in 2025. But I am not going to pretend that the movie is a happy watch from beginning to end. Towards the film’s final moments, there was some noticeable sniffling in the audience. If you cry easily, make sure you have tissues. You’ll thank me later.

© Focus Features

In the end, “Song Sung Blue” is a film that has surprised me with each passing moment. When I first heard about the concept, I thought, “Okay…” When I saw who was in the movie, I dug it a bit more. Then I saw the trailer, and I was onboard, even if it looked a little cheesy and cliché. Then I saw the movie, and while I was not wrong about parts of the film feeling cheesy and cliché, I found myself wishing I had been able to check it out sooner. This is one of my favorite films of 2025, and I did not think I would come to that conclusion a month ago. All of the characters are likable, it delivers a rollercoaster of emotions and vibes, and I contend that even if you are not that big of a Neil Diamond fan, I still think you might be able to appreciate this film as a story. The highest highs of the film make for some smile-inducing moments to remember while the lowest lows are haunting as can be. “Song Sung Blue” is in fact, “so good, so good, so good,” and I am going to give it a 8/10.

Also, one last note, this film opened the same day as “Marty Supreme,” which is also a really good film. While the movies vary in terms of tone, style, execution, and the state of their protagonists, they are both really solid flicks about dreamers. If you want a really good double feature, check if your theater is playing both of these movies right now. If they are, take advantage of the opportunity and check out both in the same day. Both flicks are great in their own way.

“Song Sung Blue” is now playing in theaters and is also available to rent or buy on VOD.

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

In the spirit of dreams, I want to thank 10 people for making my dream come true, and those are my guests in the upcoming series Celebrity Movie Requests! I just dropped a teaser trailer showcasing hints about each special guest. Their actual names will be revealed sometime soon. Be on the lookout. The link for the video is above, which I posted on YouTube. Be sure to give it a like and subscribe to my channel so you can know more about the series and watch it when it drops!

And on Sunday, January 25th, be on the lookout for the nominations of the 8th Annual Jack Awards. The show that celebrates the best of 2025 in film! It is yet another edition of arguably the most over the top awards ceremony in movie blogging history. If you want to see all of these upcoming posts and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Song Sung Blue?” What did you think about it? Did you know about Lightning and Thunder before this movie came out? If so, tell me what you think about them, and if you got to see them perform, what was that experience like? Also, have you seen the documentary “Song Sung Blue?” If not, go check it out. It is free on YouTube. Tell them in the comments section that Jack Drees sent you! Scene Before is your click to the flicks!

Primate (2025): Monkey Mediocrity

Posted on by Jack Drees

© 2025 – Paramount Pictures

“Primate” is directed by Johannes Roberts (The Strangers: Prey at Night, 47 Meters Down) and stars Johnny Sequoyah (Dexter: New Blood, Believe), Jessica Alexander (Get Even, Penny on M.A.R.S.), and Troy Kotsur (CODA, In Cold Light). This film follows a group of friends who must survive against a rabid pet monkey while on a tropical vacation.

January is genuinely where movies go to die. I did not make a most anticipated movies list for this year. However, if I were sick enough to make a least anticipated movies list, I would probably have “Primate” on there somewhere. I saw the trailer one time in the theater, and it looked like a movie that a character within a movie or TV show would make as part of a joke. Think “Serial Ape-ist” from “The Big Bang Theory” if it had a bigger budget and happened to be way less pornographic.

However, the reviews for this film have been surprisingly good, with the project averaging itself out to a Certified Fresh Rotten Tomatoes score as of this publication. Therefore, my expectations went up a little bit by the time I got to my screening. As soon as said screening finished, I thought the movie could have been better.

Is “Primate” the worst movie ever made? Not really. While I do not think it is good, there are things I like about it. First off, much of the film is set in Hawaii, allowing for some occasionally beautiful shots and scenery. There is a driving scene that sort of reminded me of the beginning of the “The Shining” if it were set in a hotter climate. The film also features Troy Kotsur, who also had a prominent role in “CODA,” one of my favorite projects of 2021. It is nice to see him get more work and he does a decent job here.

The monkey in this film, known as Ben, is presented fantastically. The film often utilizes practical effects rather than CGI. The overall look of this film is not much to sneeze at. I was impressed by how much I bought into the monkey’s mannerisms and movements. Ben ends up showing a lot of character in certain scenes. His backstory is simple, as is the movie itself.

Speaking of simplicity, the movie is simply forgettable.

Am I going to remember “Primate” in five years? That is tough to say. Honestly, if it were not for the fact that this film occasionally looked picturesque, part of me thinks this could have gone straight to streaming. There is not a single moment that I will remember fondly in this film for years to come. There are some creative scare attempts, like one involving “Dora the Explorer,” though if I had one problem with that scene, as someone who grew up watching the series, the film does take liberties with the source material and does a major timejump from one point in an episode to another so the monkey’s reaction to the show is in line with one of the series’ most popular gags. Does this really matter in the grand scheme of things? Perhaps not. But this nevertheless stood out to me.

The overall vibe of “Primate” feels inconsistent. Sure, the whole movie feels campy. Although that degree of campiness varies. The three main girls in the film are sometimes loud and energetic. I would not call them party animals, but they do like to have fun. That said, the movie also occasionally features a couple of horny young men named Drew and Brad. Those two on the other hand are practically party animals. My problem is not that the boys themselves are party animals, but part of me does not buy the boys as characters.

The trailer for this film unveils that these boys cross paths with Ben the monkey. The moments leading up to that point, and even as soon as we get to that point, had me bewildered. No disrespect to Charlie Mann and Benjamin Cheng as actors, but their performances feel way too cartoony for a film like this. Sure, this is a film featuring a killer chimp, but I bought into why the chimp went off the rails. When Drew and Nick enter the frame, “Primate” goes from being a straight up horror flick and perhaps transforms into an unintentional comedy for several minutes. The dialogue uttered between these two as they talk to each other, those around them, and even in private had me perplexed. I had trouble buying that this is actually how these people communicate.

Speaking of characters, it is really hard to appreciate a movie like this when even the main characters do not come with a ton of substance. Sure, in a sense, Ben the monkey is kind of the star of the show. He is not the protagonist, but he is perhaps the most marketable character of the bunch. That said, the movie does not give me a ton of reasons to root for the main cast. Sure, at the end of the day, the characters are all aspiring to survive, but I am not so sure what exactly is so interesting about the main characters themselves. Honestly, of all the people in the movie, the most interesting of the bunch may be the father. He is a famous novelist and happens to be deaf. The rest of the people that make up the film feel like stereotypical, everyday college students. I do not hate any of these characters. Granted, Drew and Nick did annoy me a little bit and threw a curveball at the movie’s tone, but it is hard to say that I outright wanted to see anyone brutally murdered. I just think a little more depth could have helped this movie a little bit. The runtime is just under an hour and a half. The movie may be tight, but one could argue maybe it is too tight.

Perhaps it is interesting that the monkey is not just a strange creature from the wild, and instead someone this film’s characters consider a pet. It is not like “Jaws” where the characters are fighting the creature in its natural habitat. The people in this film are being tormented by the monkey directly from their home.

Does “Primate” have a future in popular culture? Despite my lack of urgency to recommend this film, I will admit that part of me sees “Primate” becoming a popular film to watch amongst young friends or even at sleepovers. “Primate” is rated R, so it is probably not going to be every teen’s movie of choice, but I can see a bunch of teens watching this film with all the lights out if they have cool parents or if their parents straight up do not care about what their children watch. For all I know, this could even be a goto choice amongst adult friends with some alcohol. Again, I am in the minority when it comes to this film. Most people who watched this film seem to like it, even critics. I wish I were amongst the many who admired what this film had to offer. Although if you have seen my review for “Bugonia” recently, you would know that I am not afraid to speak my mind.

In the end, “Primate” is much better than I expected it to be after seeing the trailer, but I still do not think it is a thumbs up. The movie does a have an okay scare or two up its sleeve, but not much else to write home about. The film has a number of intriguing concepts and scenes, but I thought the execution of everything could have been better. I would be curious to know how this film is going to be received with time, because at the moment it feels rather disposable, but for all I know it could stay relevant with the right audience. The film is not broken or anything. In fact, when it comes to the story, the film does a decent job at getting things from point A to point B and tying different threads together. It is just that this movie does not have a ton of personality and feels too surface level at times. I do not see myself watching “Primate” again, but I cannot say I want to cast it into the fire either. I am going to give “Primate” a 5/10.

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

Thanks for reading this review! My next review is going to be for “All You Need Is Kill,” based on the Japanese light novel of the same name that later inspired Doug Liman’s 2014 film “Edge of Tomorrow.”

Also, stay tuned for Sunday, January 25th as I will unveil this year’s nominations for the Jack Awards! The show will celebrate the very best of 2025 in film, so look forward to seeing some peak cinematic experiences get some extra moments in the spotlight! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Primate?” What did you think about it? Or, do you have any unpopular opinions regarding a recent film? Let me know down below! Scene Before is your click to the flicks!