Review

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!

We Bury the Dead (2025): Daisy Ridley Searches for Her Spouse in This Zombie Flick

Posted on by Jack Drees

© 2025 – Vertical Entertainment

“We Bury the Dead” is written and directed by Zak Hilditch (1922, These Final Hours) and stars Daisy Ridley (Star Wars: The Force Awakens, Chaos Walking), Mark Coles Smith (Last Cab to Darwin, Pawno), and Brandon Thwaites (The Giver, Gods of Egypt). This film is set after the U.S.’s accidental detonation of an experimental weapon off the coast of Tasmania. At first, many people die, only for a sizable amount to become undead. From that point, the story centers around a woman named Ava, who is assigned to retrieve bodies and help soldiers maintain control of Tasmania as zombies rise.

Before we begin this review, I would like to wish everyone a belated Happy New Year! “We Bury the Dead” is the first new film I saw in 2026. The first new release of the year is always an interesting watch. Not only because to some degree, it sets a tone for what the movies could bring for the rest of the year, but also because, per usual, January is a 31 day schlockfest for cinema.

I did not know what to expect with “We Bury the Dead.” I missed out on the trailers or spots related to the film, but I was delighted to see Daisy Ridley in the starring role. The actress may not have done anything as big as “Star Wars” this decade, but it is nice to see such a talented performer star in a smaller production like this. As for my thoughts on the film, I found it to be amusing. There are very few adjectives I feel could accurately describe my experience of watching this movie, but I walked out of “We Bury the Dead” won over in more ways than one.

For starters, the movie has a great hook. It kind of has a “Godzilla” feel with a big explosion to kick things off. It took me back to 2014 when I saw that particular “Godzilla” film in the theater for the first time. We find out a weapon goes off in Tasmania, tons of people die. Right from the getgo, the movie has my attention. If you read my top 10 WORST movies list of 2025, you would know that I have seen a few flicks last year that had me hooked in the first minute or two only to have the rest of the film fail to live up to what happened at the beginning. That is not the case with “We Bury the Dead.” While I cannot say the film gets significantly better than what we see at the start, it maintains a sense of quality throughout.

The story, despite having zombies in it, maintains a surprisingly grounded vibe. If you take out the zombie element, then this is simply a movie where a wife is looking for her husband. If you are looking for zombie action in this film, it does exist, though it does feel rather minimal. It essentially happens when the story allows it, but I have no complaints.

Going back to Daisy Ridley, she gives a soulful, engaging performance as Ava. I always had an appreciation for her acting chops and have found all of her portrayals to be solid, even with the couple that I have seen in the era following her “Star Wars” outings. This one is no exception. I found Ridley to blend perfectly with the film’s somewhat minimalist feel while still serving as an occasional beam of emotional power. Ava is the heart and soul of this film and Ridley is a good pick to play her.

“We Bury the Dead” also happens to be Brenton Thwaites first movie role in years. He had a brief rise to fame in the 2010s with films like “The Giver” and “Pirates of the Caribbean: Dead Men Tell No Tales.” I am glad to see he is continuing to find work, and frankly, work that is superior to those recently mentioned films. Thwaites has proven that he is talented, but his resume does not quite live up to his potential. “We Bury the Dead” film may not be as recognizable as “Pirates” or as expensive as “Gods of Egypt” or based on something as positively received as “The Giver…” Say what you will on the final results of that last one… Like those previous films, Thwaites does his best here as Clay. Though as I say that, his acting chops this time around match the film’s commitment to quality.

“We Bury the Dead” is a creative flick that makes the most of its smaller budget. That budget sometimes shows, but a smaller film like this one can result in a purer experience. This is most evident in the film’s shot selection. As I write this review, I look back at some of my favorite shots of the film and a couple that come to mind are when the camera’s up high, aiming down at a road, and we see characters passing through or whatever has been left behind. From time to time, the film’s shots look like something out of an art museum. While the film is set in Tasmania, it is actually shot in Australia, and I admire the locations that were chosen for each scene. Each one looks as sweet as the last.

The film also has quite the ending. I obviously will not spoil the ending, though it is worth talking about to a degree. The film’s ending plays a lot into its constant thread of relationships. By the time we get to it, the scene feels earned and I felt for Ava based on what was encountering in the moment. There is a scene around the middle of the film between the two main characters, Ava and Riley (Coles Smith) that sees the two discussing the relationships with their spouses, sharing things they have in common, and perhaps hinting what life could be like should they have a future together. This scene ultimately plays a role in what happens to be the film’s very last moments, which allow things to close on a satisfying note. “We Bury the Dead” is not the best zombie movie, nor is it the best movie about relationships. However, when it comes to both those ideas, the film is much better than I expected it to be despite it having a decent cast. Will I remember this movie five years from now? That is hard to say. But do I regret seeing it? Absolutely not.

In the end, “We Bury the Dead” is one of those movies that gets better the more I think about it. It is not a perfect film. But I do think it makes the most of its budget, introduces some likable characters, and has some really nice cinematography. If you are looking for the scariest, most bonkers, or even the most fun zombie flick ever made, you might want to look elsewhere. Though I was surprised by how engaged I was by this film’s handling of relationships. I do think a rewatch of this film is in order at some point. While I cannot say I loved the movie, it would be wrong to suggest that it is in any way incompetent. If you get a chance, go see it. I am going to give “We Bury the Dead” a 7/10.

“We Bury the Dead” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Primate!” Stay tuned! The 2026 reviews are only getting started! But if you want relive 2025 for a moment or two, be sure to check out my end of the year countdowns where I discuss my worst films of the year, most disappointing films of the year, and best films of the year!

Also, little bit of housekeeping, Scene Before’s annual awards show, the Jack Awards, are back on February 8th! The nominations will be revealed January 25th. In less than a month, it will be time to honor the finest that 2025 has offered in cinema once more.

If you want to see this upcoming awards show 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 “We Bury the Dead?” What did you think about it? Or, what movies are you looking forward to in 2026? I did not make a most anticipated list this year, but I am dying to see Christopher Nolan’s “The Odyssey.” Based on the film’s marketing so far, the film looks fantastically epic, and I am beyond happy to confirm that I already have my ticket to see the film in IMAX 70mm later this year. Let me know what you are looking forward to down below! Scene Before is your click to the flicks!

Is This Thing On? (2025): Bradley Cooper’s Compelling Dramedy on Why People Fall In and Out of Love

Posted on by Jack Drees

“Is This Thing On?” is directed by Bradley Cooper (A Star is Born, Maestro), who also stars in the film as Balls. Joining him is a cast including Will Arnett (The LEGO Movie, Arrested Development), Laura Dern (Jurassic Park, Marriage Story), and Andra Day (The Deliverance, The United States vs. Billie Holliday). This film is about a couple, Alex and Tess, agreeing to separate, as well as the new adventures and challenges that come their way as a result. Meanwhile, Alex develops a hobby as he turns to the New York comedy scene.

If you have followed this blog for a while, you would know that I am a child of divorce. Having such a background immediately made me intrigued by the premise of “Is This Thing On?”. The fact that it also has stand up comedy as a significant thread of the plot also had me hooked. In the past number of years, I have been fascinated by the art of standup. I personally do not take part in standup, but when I am not watching movies or game shows, standup comedy is probably the other option in which I regularly immerse myself. Even if I did not have these potential biases intact, chances are I would still be excited for “Is This Thing On?” as it is directed by Bradley Cooper. While I have come to admire him for his acting career, he has also turned himself into a solid director. His version of “A Star is Born” is excellent. His follow-up, “Maestro,” is a slight step down, but was still very well made.

Up to this point as a director, Bradley Cooper was 2 for 2. But not anymore. He is 3 for 3. “Is This Thing On” is amazingly well done.

I have seen the teaser trailer for “Is This Thing On?” a few times before watching other movies and I was always intrigued by its basic premise. Essentially it teases that a man going through a separation turns to standup, and bases his material on his personal journey. It taps into the classic ideas of writing what you know and that you often cannot have comedy without first experiencing tragedy. Basically, every bit of Alex’s material from the getgo is about his relationship. Not all of it is based on truth. Every once in a while he will make up a character for a bit, but the material all traces back to his struggle. Other characters respond to Alex’s material with praise. The praise is not exactly for the humor, but rather for the material’s therapeutic nature. Standup is practically Alex’s way of relieving stress through a tough time.

Despite prominently featuring standup as part of the plot, one could argue that “Is This Thing On?” is not exactly a comedy. If you were to ask me, I would argue it is to a certain degree. There are laughs to be had, including at some of the material offered by Alex and additional comedians in other scenes. But it is not a pure comedy in the way that “Splitsville” would probably be. Both films deal with separation and the complication of relationships in some way, but “Splitsville” seems to have more lighthearted fun with its premise whereas “Is This Thing On?” keeps things more grounded. The film in no way feels confused in its tone. Separation is not an easy concept to deal with, and the film makes sure that message is seen through. We see the couple struggling. We see their children and loved ones asking questions and needing to give their two cents on aspects of their relationship. We see the impact their own separation brings upon other people. The film keeps its tone serious while balancing things out with a few jokes here and there.

“Is This Thing On?” has a lot to say about relationships, marriage, and how those things can affect personal lives. The film paints divorce not necessarily as the end of a relationship, but perhaps a new beginning in some ways. We see Alex diving into standup, while Tess puts a major focus on volleyball. For the latter, this is something we find out was once a part of her life, but she had put it on the backburner.

The film also brilliantly highlights why Alex and Tess coupled up in the first place, why Alex in particular fell in love with Tess when she was younger. There is a fantastic scene where Alex reveals a piece of décor in his new place. Said piece has a specific link to Tess. Once Tess realizes what this piece is, she is upset by it. I understand both sides of this issue. Alex even defended his idea by suggesting that the children will appreciate the piece because it will show how awesome their mom is. The piece does a phenomenal job at encapsulating the idea that people fall in love with a certain version of someone. I am single and do not have a lot of relationship expertise, but this film seems to tell its audience that with commitment comes change. Not just in the status of the relationship, but the members of the couple themselves. Whether it is the way they look, the way they act, or what they do. While that change may be great for one person as they are making it, the other may not feel the same way. The film seems to paint separation or divorce as a proper path to change oneself for the better, but also recognizes that even at the end, there is still sometimes a sense of love and appreciation between both members of the couple. However, those feelings are not as strong as they were at one point.

Also, Bradley Cooper’s directing style in this is top notch. I was not sure if after “A Star is Born” that Bradley Cooper would simply be a one trick pony, but he kills it behind the camera, getting magnificent performances out of everyone, but most especially Will Arnett and Laura Dern as Alex and Tess. I bought into their relationship, not to mention its slow but steady decline. Never once did I feel either character overplayed any of their emotions. Every reaction that could have been an extreme is dialed down just enough to avoid becoming over the top. Some of the couple’s dialogue back and forth also hit me, most especially at the one scene involving where Tess says she is upset about Alex’s new décor. The scene, and one that quickly follows it, are among my favorites of the year. They make for dialogue-driven mastery both in front of and behind the camera.

But the cast does not just stop at Arnett and Dern. Bradley Cooper himself has a role in the film as Balls. This should not be too big of a surprise considering Cooper also starred in his last two films. Only difference is this time around, he is not THE star, and playing a supporting role. He has a lot less spotlight this time around, but he knows his place as his character and I thought he did a good job. The film only gets more star-studded from there, as former NFL pro Peyton Manning plays a notable role in the movie. And while she did not have a monstrous amount of screentime, I was more than happy to see Amy Sedaris showcase her lively personality while playing the small role of Kemp. Much like “Friendship” earlier this year, “Is This Thing On?” made me laugh and also made me think. It is not as hilarious as “Friendship,” but I do not think that Bradley Cooper was trying to make a movie as laugh out loud funny as “Friendship.” If that was the goal, I would say he succeeded while still committing to comedy at times.

In the end “Is This Thing On?” is easily one of my favorite flicks of the year. After seeing “Maestro,” I was not sure what Bradley Cooper was going to do next as a director, or if he even wanted to helm a third film for that matter. I am more than glad to see that this was the idea he had up his sleeve, because “Is This Thing On?” blew me away. I was expecting the film to be good, and I came out thinking it was a gem. Of the three Bradley Cooper directorial efforts, this is easily my favorite. Granted, I have some potential biases that could play a factor. Although I am sure even if I did not have those biases, I would have still fallen in love with this film. I admire the characters. I dig the story. I found the pacing to be perfect. The film successfully balances comedy and drama. There are predictable parts, but much like “Godzilla Minus One,” which was my favorite film of 2023, even the moments I saw coming felt earned. “Is This Thing On?” is definitely not going to be as big as “A Star is Born,” but I hope enough people go check this out in theaters to the point where it becomes a box office success like that film did, because the movie is compelling from start to finish. I am going to give “Is This Thing On?” a 9/10.

“Is This Thing On?” is now playing in select cities. Tickets are available now!

Courtesy of A24 – © A24

Thanks for reading this review! My next review is going to be for “Marty Supreme!” Stay tuned! Also, be sure to look forward to my end of the year countdowns! I will be reflecting on my top 10 BEST and WORST movies of 2025! If you want to see these 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 “Is This Thing On?” What did you think about it? Or, what is your favorite Bradley Cooper film? I will accept anything where he is in front of or behind the camera. Heck, even in films where he is behind the camera, he is still in front of it. Let me know down below! Scene Before is your click to the flicks!

Avatar: Fire and Ash (2025): James Cameron’s Third Smurf Theme Park Ride

Posted on by Jack Drees

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

“Avatar: Fire and Ash” is directed by James Cameron (The Terminator, Titanic) and stars Sam Worthington (Clash of the Titans, Man on a Ledge), Zoe Saldaña (Guardians of the Galaxy, Star Trek), Sigourney Weaver (Alien, Ghostbusters), Stephen Lang (Don’t Breathe, Public Enemies), Oona Chaplin (The Longest Ride, Game of Thrones), and Kate Winslet (Titanic, The Reader). This is the third installment in the “Avatar” franchise and once again follows the Sully family as they deal with grief and cross paths with an unfamiliar Na’Vi tribe, the Ash people.

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

After the 13 year wait between the first two “Avatar” movies, it is clear that the hype for this franchise has not died down. Say what you want about the “Avatar” property, but when you have a first film that ends up being the biggest theatrical release of all time, and a second film that also ends up making a couple billion bucks at the box office, it is a sign that things are not over yet. That is where “Avatar: Fire and Ash” comes in. One big difference going into this film is that the wait for it was much shorter than the wait for “Avatar: The Way of Water.” However, that wait may have played a small part into the shrinkage of hype I had for “Avatar: Fire and Ash.”

Another part that played into my low expectations was the result of the last movie. For those who missed my “Avatar: The Way of Water” review, I found the film to be middle of the road at best. It was a step down from the original “Avatar,” which was not revolutionary in terms of structure or story, but at the time, it was technically impressive. It arguably upped the standard for how 3D should look after the first film blew audiences away back in 2009. The CGI makes fantasy come alive. The color palette is incredibly easy on the eyes. So, it is unfortunate that all of this technical splendor was in the same place as a watered down, formulaic, boring script.

I went into “Avatar: Fire and Ash” with about as open of a mind as I could offer. The film, in some ways, met my expectations. Each frame looks dazzling and packs itself with glamour. The style is, unsurprisingly, pleasing. The substance, to my shock, improved somewhat slightly from the last film. Granted, it does require some significant suspension of one’s disbelief. For example, Quaritch is back. Because it is not “Avatar” without Quaritch for whatever reason. By itself, the idea of bringing Quaritch back peeves me because it lessens the stakes of this franchise. But they already revived in him in the second movie, so it is perhaps only necessary keep up the tradition in the third.

That said, once the movie leaps past this logical barrier with this character, it actually gives him some good material to work with. I liked seeing Quaritch, the big bad in the previous two movies, sort of cater to the savagery of the Ash people by presenting them with weaponry. Of all the Na’Vi that have been introduced throughout the three movies, the Ash people are by far the wildest and most untamed.

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

I never reviewed the first “Avatar,” but if you recall my review for the second, you may know despite my negative opinion regarding the film, I did appreciate it from a technical perspective. The third film is no exception to the rule. Like the past two films, the 3D will dilate your eyes. Like the past two films, the sound editing will energize your ears. It is something that in a sense you have to see and hear to believe. But it would be a lot more exciting if this were not a third installment showcasing tricks we have seen a couple times already.

In fact, “Avatar” is starting to remind me of what has happened in the past decade with Michael Bay’s “Transformers” movies. Like those movies or not, each and every one seems to follow a noticeably similar story and formula. This “Avatar” movie, like the previous ones, introduces a new group of Na’Vi, tries to explain why humans may be monsters, and has big climactic battles with birds flying all over the screen. It is not to say that some of what I described is not enticing, but there is less of a sense of novelty this time around compared to my experiences in 2009 and 2022. Maybe the 13 year gap had something to do with it, but still.

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

One thing that was featured in the second movie that reappears here is the high frame rate. For those who do not know, most movies are shot and presented in 24 frames per second. “Avatar: Fire and Ash” is a rare exception, as it is shot and presented in 48… Some of the time… “Avatar: Fire and Ash” has some scenes, particularly the more action-centric ones, in 48 frames per second, while the slower, more dialogue-driven scenes are in 24. This kind of reminds me of some filmmakers in recent decades shooting their projects in IMAX, where in the final product, the aspect ratio switches in select scenes. Only in most cases when that happens, the switch does not tend to feel as jarring. Maybe I am just used to that technique, which when it does happen, I often find myself marveled by it. Including this year during “Sinners” and “The Fantastic Four: First Steps.”

I found the switch between the two frame rates to be incredibly distracting. I remember when the movie started and we see the opening logos and there is a scene where characters are flying in the air. All of it is in 48 frames per second. So, when the movie decides to suddenly switch to 24, it felt somewhat jolty. For a movie that prides itself for its immersion factor, this is something that immediately took me out of it.

As I watched “Avatar: Fire and Ash” I immediately thought about Martin Scorsese’s comments about Marvel movies, specifically about them being theme park rides. This sentiment is one I would personally give to the “Avatar” movies at this point. It is really weird to say because I think James Cameron can tell a good story. I love the first two “Terminators.” I love “True Lies.” While I find “Titanic” to be overrated, I do like the chemistry between Jack and Rose. These “Avatar” movies, while they do make a lot of money, feel incredibly cookie cutter and predictable by now. Not to mention, its casts do not stand out as much as the ones in Cameron’s other movies. I do not think it is a bad thing for a franchise to have similar movies. It makes it easy to tell you are watching separate things in the same universe. But I also think there is a little room for variety. Sure, instead of introducing Water Na’Vi, this movie is introducing Ash Na’Vi, but the nuts and bolts of the story feel almost entirely identical to what’s been told before.

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

Sigourney Weaver once again makes an appearance in this film, and her character, Kiri, stood out to me for a couple reasons. First off, if you pay close enough attention, the film does have an Easter egg to Ripley from the “Alien” franchise, specifically one of her most iconic lines. Second, like the last film, Weaver herself, who is in her 70s, has a tremendous age gap with her teenage character. I am not going to pretend that “The Way of Water” hid this age gap the entire time, but I thought “Fire and Ash” did an inferior job at keeping it hidden. Weaver’s voice sometimes sounds too wise and deep for a 14 year old. I sometimes found this performance to be a tad distracting. I love Weaver. I think she is a phenomenal actress. But the more I watched this film, the more I felt Cameron should have cast someone who was younger to play her character. Perhaps someone unknown.

It may sound like I hate “Avatar: Fire and Ash.” But the truth is that I liked the film more than the last one, which I thought was mediocre. As much as I think the film feels like it plays the hits, it sometimes plays them well. I thought the characterization was also better this time around. Again, once this film finishes jumping the shark with Quaritch’s death in 2022’s outing, I like the direction in which they took him. I also thought this film gave some fascinating material for Spider. I thought the way he was handled in “The Way of Water” was rather questionable, but I like some of the ways he was developed in this film, particularly in regard to his overall connection with the Na’Vi. There is also a gripping scene in the second half of the film where his character serves as a crucial subject of the film’s larger message. We see Jake Sully trying to determine the best of two difficult choices, both of which involve Spider’s character. I thought the scene was excellently dramatized and may be one of the better character moments this franchise has offered.

Speaking of the Sully family, I thought they were another positive in this film. I found myself to care more about the children this time around than I did in the previous outing. I thought them dealing with the loss of one of their own gave each member some substance, including Neytiri, who establishes her opposition for humanity. But if you were to ask me what stood out to me in this film as a positive, I would find it difficult to come up with immediate, definitive answers. There are things I liked, but nothing that I truly loved. Part of me wants to say the CGI and the 3D are great, but “Avatar” can only offer the same thing so many times before it feels less fresh than it did before. If we get an “Avatar 4,” I am slightly more onboard for that than I was for this film. But I am still worried about this franchise becoming an old dog that can no longer learn new tricks. But, what do I know? This franchise makes buttloads of money, and people keep watching them. That is how the business works.

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

In the end, if you were to ask me if you should go see “Avatar: Fire and Ash,” chances are I would answer yes. That said, it may be a specific yes. I would say to go see the movie, but I would not commit to seeing it at night. Settle for a matinee showtime when it is cheaper. “Avatar: Fire and Ash” sometimes feels like more of the same, but sometimes the repetitive parts work. I also thought the characterization was improved from the second movie. I found myself bored with that experience at times. With a three hour and 17 minute runtime, “Avatar: Fire and Ash” may be five minutes longer than “The Way of Water,” but this threequel comes with a much more engaging, faster pace. I cannot say I found a moment during the film where I wanted to drift off to sleep. In terms of the storytelling, I was surprisingly hooked. “Fire and Ash” does a not great, but good job with that. That said, if they are going to do the high frame rate in “Avatar 4,” I hope the film stays at 48 frames per second the whole time. I think 24 frames per second looks cooler. It makes things look more dramatic. But that is just me. Regardless of how many frames this film handles in a second, the switches honestly jarred me. If anything, it made the high frame rate come off as more of a gimmick. I will give this “Avatar” installment, as well as the others, props for the stunning 3D, which I often find gimmicky in other projects. But the high frame rate? Forget about it. I do not think it needed to be there. I do not give this film the highest of recommendations, but in no way am I going to disapprove of it either. I am going to give “Avatar: Fire and Ash” a 6/10.

“Avatar: Fire and Ash” is now playing in theaters everywhere. Tickets are available now.

Photo by Courtesy of Searchlight Pictures – © Searchlight Pictures

Thanks for reading this review! My next reviews are going to be for “Is This Thing On?” and “Marty Supreme.” Stay tuned! Also coming soon, I will be unveiling my picks for my best and worst movies of 2025! I enjoy doing both lists. It has become an annual tradition. It is always fun to keep up with it. If you want to see 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 “Avatar: Fire and Ash?” What did you think about it? Or, what is your favorite of the “Avatar” movies? Let me know down below! Scene Before is your click to the flicks!

Hamnet (2025): Chloe Zhao’s Latest Vision Breaks Your Heart and Puts it Back Together

Posted on by Jack Drees

“Hamnet” is directed by Chloé Zhao (Eternals, Nomadland) and stars Jessie Buckley (Wild Rose, Men), Paul Mescal (Gladiator II, All of Us Strangers), Emily Watson (Hilary and Jackie, Chernobyl), and Joe Alwyn (The Brutalist, Kinds of Kindness). This film showcases what happens as Agnes and William Shakespeare deal with the loss of their son, inspiring the latter’s play, “Hamlet.”

I was not aware that Chloé Zhao was working on a movie this year, but after seeing “Nomadland” and “Eternals” earlier this decade, I found her directorial efforts to be delivered with a sense of grace. There is something wholesome and calming with how her work is executed. Maybe it is because of the stories she chooses to tell. “Nomadland” is in a sense an inviting tale about real people. “Eternals” may be a Marvel movie with tons of CGI and fast-paced action, but it has a set of likable characters. I found Sprite’s arc in particular to be quite compelling. When I saw the marketing for “Hamnet,” I was less interested in the concept of the story as opposed to who was telling it. When I saw Chloé Zhao’s name pop up in the trailer, I was onboard. Is this film worth the hype? I would say so.

“Hamnet” is not my favorite film of the year. Though I have fiddled with at the least, making it an honorable mention on my best list this year. Spoiler alert, it is probably not going to make the list. I think select scenes throughout the film lack memorability compared to others. A number of factors play into this claim, because I found the atmosphere to be inviting. I thought the story, while it may not be the most thrilling, to be moving. But most of all, this film may have, collectively, the best acting I have seen in a film this year. The cast may not be the most recognizable, but every performer here is on their A-game. The chemistry between Jessie Buckley and Paul Mescal as Agnes and William Shakespeare is unbelievable, and the drama that is hankered in from their families also make for some compelling scenes.

The child actors were also incredible, and not just by the standards of “child actors.” They are so good that they honestly rival the grown-ups. In fact, as I watched this movie, I got the sense that just about every scene was presented in somewhat of a child-like spirit. It is a weird way to describe this movie, but every scene feels energetic. Even ones that are clearly drawn out. If a scene goes on for a while, it is supplemented by a satisfying dramatic effect. Part of this spirit is likely enhanced by the film’s location choices. Every place on camera looks gorgeous and I would not mind escaping into each one if I had the chance. Speaking of child-like spirit, I really enjoyed getting to see specific scenes from Hamnet’s youth. Seeing him swordfight with his dad emitted oodles of joy.

Before going to see “Hamnet,” I was told by friends who had already seen it that Jessie Buckley gave what may have been the best performance of the year. This set the bar really high for me. But even I was not prepared for the acting chops Buckley was bound to unleash. She is given so much to do in this film. You see her character, Agnes Shakespeare (left) through multiple portions of her life. You see her when she finds love, becomes a parent, deals with tragedy. Of course, she is no ordinary woman, as the film reveals she is a healer. Yes, there is quite a fantastical element to this story. After all, it is based on a fictional book. This is not my first film featuring Buckley that I have seen, but much like my previous review, “The Secret Agent,” this film does for Buckley what “The Secret Agent” did for Wagner Moura. It took someone I have seen in other movies and liked in other movies, but now that I have seen them in this one, it essentially put their name on the map for me. Buckley previously starred in Alex Garland’s “Men.” I barely remember that movie but I do remember Buckley giving her all in each scene. “Hamnet,” however, is a different animal entirely. I think this performance will be studied for quite a long time.

Of course, this is also a film about William Shakespeare (right), played brilliantly by Paul Mescal, and his portion of the story is not only compelling, but it sometimes paints him as a loving, but also imperfect father. I would not go as far as to say Shakespeare is a jerk. In fact, I often get a calming vibe from his character. But there is a fantastic scene between Agnes and William where the two argue and Agnes reminds her husband that he misses important life moments. The scene plays out in a way where I feel bad for both people.

There are many great films in recent years that do a good job at not just telling a marvelous story, but honoring storytellers while doing so. A lot of these have noticeably been about movies themselves, as seen in projects like “Babylon” and “The Fabelmans.” But “Hamnet” proves that there is room to pay tribute to the stage. The film sort of takes elements from “The Disaster Artist,” where a sequence of events happen, granted such events that happen in this story follow a significantly different structure. Then, instead of showing a movie at the end, “Hamnet” has a scene where a large crowd gathers to watch a play. The film reinforces a motto that I hear a lot when it comes to storytelling, specifically to write about and tell the stories you know. Seeing William Shakespeare tell the story of “Hamlet” really hits emotionally given the background the film offers through every moment leading up to said scene. In fact, there are multiple moments, especially towards the end, where the film plays out as if it was trying to make one tear up.

There is one music choice I was not expecting at the end of the film, but as soon as I recognized the song, it only made the scene hit that much harder. I am not saying the scene would not have hit without it, because that part of the movie by itself is as heavy as it is fulfilling, but the music choice was a bonus. If you know the name of this film’s composer, Max Richter, and one particular piece he crafted, you are in for a treat.

In the end, “Hamnet” is a beautifully done movie. Upon walking out, I debated as to whether this was my favorite Chloé Zhao film. Given time to marinate, I would probably give “Eternals” the edge at this point. But that does not mean I cannot appreciate her efforts here. The acting is some of the best I have ever seen, and I would not be surprised if this film dominates the SAG Awards. The film has brilliant cinematography, it is decently paced, and also finds time to both break your heart, then suddenly put it back in one piece. The film is definitely not for everyone, but I think if you are in the right mood, this movie could hit you where you live. I am going to give “Hamnet” a 7/10.

“Hamnet” is now playing in theaters everywhere. 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 “Avatar: Fire and Ash!” Stay tuned! Also coming soon, stay tuned for my thoughts on “Is This Thing On?” and “Marty Supreme.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Hamnet?” What did you think about it? Or, have you ever read the “Hamnet” book? What did you think about that? Let me know down below! Scene Before is your click to the flicks!

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

Posted on by Jack Drees

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

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

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

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

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

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

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

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

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

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

Thanks for reading this review! My next reviews are going to be for “Hamnet” and “Avatar: Fire and Ash!” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Secret Agent?” What did you think about it? Or, what is a film released this year that you like but also think is a tad overhyped? Let me know down below! Scene Before is your click to the flicks!

Scarlet (2025): Revenge is a Dish Best Served in the Afterlife

Posted on by Jack Drees

“Scarlet” is directed by Mamoru Hosoda (Belle, Mirai) and stars Mana Ashida (Pacific Rim, Mother), Masaki Okada (Drive My Car, Confessions), and Koji Yakusho (Babel, Perfect Days). In this film, the titular princess, who lives in Medieval Times, is out to get revenge against her father’s killer. Unfortunately for her, the mission does not go according to plan, because she dies before completing it. Her quest continues in the afterlife, where the killer also happens to reside. In the meantime, she runs into a medical worker from the present day, whose views on violence and revenge strongly conflict with hers.

“Scarlet’s” wide U.S. release does not take place until 2026, but I had the unique opportunity to watch the film in 2025, as it received a very limited engagement in select IMAX theaters. One of those theaters happened to be 20 minutes from home, and given how much I was chomping at the bit to see “Scarlet,” I bought a ticket lickety split. That said, even if “Scarlet” were only playing one, two, three, or even four hours away from where I was, I would have still bought a ticket because the film is from someone who has become a favorite filmmaker of mine in recent years, specifically, Mamoru Hosoda.

If you have read this blog in 2022, or sometime after, you may have discovered that I have a very unhealthy obsession for Hosoda’s movie “Belle,” which I have made multiple posts about, and watched countless times. Since then, I have gone back to watch Hosoda’s other films including “The Girl Who Leapt Through Time,” which was clever and fun. “Summer Wars,” which is creative and full of likable characters. “Wolf Children,” which by the end, triggered all kinds of emotions for me. “The Boy and the Beast,” which I found to be an entertaining journey with a likable duo. And “Mirai,” which I think is the weakest of Hosoda’s filmography, but still charming and neatly animated. Even with his inferior films, Hosoda boasts an incredible resume, and I am proud to say that “Scarlet” just the latest success from the masterclass storyteller.

Every once in a while, there comes in a film that makes people say that such a story is something we need right now, and I would argue “Scarlet” is not just a story we need right now, it is story that we will probably continue to need for years to come. This is not so much a movie as much as it is a message about being kind. A message reminding people of the horrors of violence. A message concerning the importance of the human condition. I really enjoyed seeing the major differences between the film’s two main characters, Scarlet, a princess from medieval times, and Hijiri, a first responder from modern times. Both characters end up dying, meet up in the afterlife, and come to realize each other’s differences.

“Scarlet” is not the only afterlife-centric film I reviewed this year. If you have followed Scene Before recently, you would know I reviewed “Eternity.” Both of these films have clever interpretations on what happens after you die, but both films are likely to hit certain audiences differently. “Eternity” takes a more comedic approach to dealing with the concept of death and the uncertainty of what happens after one ceases to exist. “Scarlet” on the other hand, while it occasionally has a funny moment, is grittier, bloodier, and more violent. If you dig this more dramatic approach, this movie could work for you. One indication of how dramatic this movie can get at times is its messaging about war.

Technically speaking, this film sings. The sound mixing in this film blew me away. There are some lightning claps in this movie that shook me as soon as they emitted. Granted, I saw this film in IMAX, so it is not much a surprise that a lot of the sound effects end up packing a punch. Not surprisingly, like most of Hosoda’s work, this film looks beautiful. Granted, I will say unlike some of his past work like “Summer Wars” or “Wolf Children,” there is a lot less emphasis on color. The film is not only rugged in terms of its vibe, but it is often matched by its color choices, or lack thereof. Though I will note, between this film and “Belle,” Hosoda seems to like focusing on protagonists with pink hair. The animation style is not the easiest to explain in layman’s terms. It is almost “Spider-Verse“-esque considering the film’s mix of 2D and 3D elements. It is not quite on the same level, but at times “Scarlet” does remind me of those films.

The music in this film is also fantastic. There is one song that is original to the film called “A Celebration Song.” I thought it was perfectly timed and utilized around the story’s midpoint. The score, whose percussion elements stood out to me in particular, is composed by Taisei Iwasaki. While I do not think this is as memorable as his “Belle” score, his efforts here result in some chilling tracks.

The story does have elements that are familiar. In fact, “Scarlet” takes a bit from William Shakespeare’s “Hamlet,” but it does not mean it is not its own animal. Scarlet and Hijiri come from different times, different places, different backgrounds. But both note that they are no strangers to war and violence. Scarlet wants to get revenge on the person who killed her father. And Hijiri suggests that people like him are trying to keep the concept of war in the rear-view mirror, despite the difficulty of doing so. He also establishes that his very profession involves saving people from death, and that he has never become used to the idea of people dying despite what his job entails. Scarlet mocks Hijiri, calling him a do-gooder, but he simply wants there to be world peace. As these two navigate the afterlife together, it becomes clear that in a sense, this movie is practically a near two hour plea for pacifism.

I also found the ending quite satisfying. Granted, it does require some suspension of disbelief. But if you can get past the logic leap, then it might hit you in the same way it hit me. Then again, as I say that, I realize how much this film made me suspend my own disbelief. I have no clue what the afterlife is going to be like, but most of my interpretations of the afterlife over the years have a timeline that is almost parallel to the one we experience in “real life.” When someone dies, I sometimes think of them “looking down” at me, or somebody else. The thought has never crossed my mind that there could be another version of me that has already died, or that if I die, I would travel to a time so to speak long before the people I know are born. The afterlife in this film is undoubtedly creative, but it is kind of mind-numbing to think about, and if I did end up there after I died, I would be a bit bewildered. The afterlife feels very specific to the movie’s universe in order to tell its specific story, and it works here. But it does not feel like a place in which people would truly end up after death if you ask me.

I cannot stop thinking about this film’s afterlife, which is in part a good thing because it is clever, but also a bad thing because I sometimes question its logic. But that is not all that is on my mind upon leaving “Scarlet,” because the film reminds me of how I sometimes think about some of the bad things in my life and how I could at one point say to myself, “This is the worst timeline,” or “This is the worst time in history.” But in actuality, my time in history is probably as not as bad as some others. In fact, it is very likely that as I look back in the past, so many people felt that their specific time had an overwhelming amount of negativity attached to it. I look at our world today and there is so much war going on across the planet, but this film reminds me that even though war exists, my generation did not invent it. In fact, many people in my generation are trying to stop it. This film made me wonder what life would be like if I were born at a different time, all the while making me appreciate the good that we have in this current time. I need time to marinate, but “Scarlet” is likely my favorite animated film of the year. It looks pretty, has likable characters, and is also a bit of a thinker.

In the end, “Scarlet” is, to me, in the middle tier of Mamoru Hosoda’s filmography, which is another way of suggesting that I really dug this movie. Hosoda tells a fast-paced, riveting, emotionally satisfying story with a couple of fleshed out main characters. I liked getting to know about both of them. On top of that, the film is beautifully animated and has tons of great music. I am going to give “Scarlet” an 8/10.

“Scarlet” arrives in theatres Feburary 6th, 2026.

Thanks for reading this review! My next review is going to be for “The Secret Agent!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Hamnet” and “Avatar: Fire and Ash.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Scarlet?” What did you think about it? Or, what is your favorite film from Mamoru Hosoda? Let me know down below! Scene Before is your click to the flicks!

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

Posted on by Jack Drees

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

Courtesy of Neon – © Neon

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

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

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

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

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

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

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

Courtesy of Neon – © Neon

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

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

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

Bugonia (2025): Bu-Go See Something Else

Posted on by Jack Drees

Courtesy of Focus Features – © Focus Features

“Bugonia” is directed by Yorgos Lanthimos (Poor Things, Kinds of Kindness) and stars Emma Stone (The Favourite, The Amazing Spider-Man) Jesse Plemons (Civil War, Game Night), Aidan Delbis, Stavros Halkias (Let’s Start a Cult, Tires), and Alicia Silverstone (Clueless, Batman & Robin). This film is based on the 2003 South Korean feature “Save the Green Planet!”, and it is about two cousins who capture a pharmaceutical company CEO and keep her in their home. One of the cousins, Teddy, is convinced the captive is secretly an alien who is killing earth’s honeybees.

Yorgos Lanthimos… We meet again.

On Scene Before, I make an effort to talk about the things I love. Unfortunately, sometimes this blog feels like work, and Lanthimos is a reason for that. So far, Lanthimos is one for three through the films of his I have seen. In 2018, I watched “The Favourite,” which despite its stunning presentation and solid performances, I found to be incredibly boring. Then his next feature, “Poor Things” shocked me beyond belief. I not only genuinely liked the film, I found it to be one of the funnier watches of 2023. Then came his 2024 movie, “Kinds of Kindness,” which I found kind of forgettable, kind of overly disturbing, and ultimately, kind of a chore to get through. While there are other films I have not seen from the director, my experience with him showcases why I have avoided “Bugonia” for as long as I did. I know people who went to see it as soon as the film came out, but I waited a little more than a month. The marketing came off as quirky, and so did the concept. I do not mind a quirkfest, as long as it is good. Sadly, “Bugonia” not only fails to be good, it nearly left me with a headache.

As I write this, I recognize that my review is going to come off as something in the neighborhood of a CBR opinion piece that challenges people to reconsider one of their all time favorite films. But I am nothing if not honest. And as much as it pains me to tell the truth, “Bugonia” may be my least favorite film I have seen from Yorgos Lanthimos so far. And if it were not for select redeeming qualities that I had time to think about post-viewing, I would have been so close to calling “Bugonia” the worst picture of the year.

Look… “The Favourite” was a bore. “Poor Things” surprisingly scored. “Kinds of Kindness” is a chore. But “Bugonia…” broke me to the core! This movie is deplorable! Is the movie made by people who are clearly trying hard? Trying their best? You can say that. The film is by no means incompetent. In fact, like one of this year’s most prominent talking points amongst cinephiles, “One Battle After Another,” it is shot in VistaVision. Therefore, the color palette sometimes feels fairly diverse. Although unlike “One Battle After Another,” never once does the movie feel as grand. Maybe that is unfair of me to say since I saw “One Battle After Another” in IMAX 70mm whereas I saw “Bugonia” on AMC’s laser system. Although for a movie that uses a high quality format, it feels surprisingly intimate. While there are several shots that feel like they come from the same crew that did “Poor Things,” I think the on screen results are a bit more picturesque and satisfying in “Poor Things.”

On top of the VistaVision, another Lanthimosianism makes a return, particularly Emma Stone. This is their fourth film in a row together, and I can see why. The two clearly work well as a team, and the results sometimes show on screen. I would even go as far as to say that Emma Stone’s lead performance in “Poor Things” may be the best display of acting I have seen so far this decade. Not surprisingly, Stone plays her part well. A lot of it has to do with her given dialogue and the specific direction Lanthimos gives her. A large chunk of the movie is set amongst three people, Stone’s character included. Although the characterization is something I find to be one of the film’s weak points.

Much of the movie involves the two male leads, Teddy Gatz (Plemons) and his autistic cousin Don (Delbis), as they keep Michelle Fuller (Stone) captive inside their home. Teddy appears to be heavily invested in conspiracy theories to the point where it is nearly impossible for him to escape his echo chamber. Don appears to be somewhat easily influenced by Teddy, even when he questions some of the choices he makes. While both pairs have their distinctions, the relationship between Teddy and Don kind of reminded me of George and Lennie from “Of Mice and Men.” Only in the case of George and Lennie, I found that pair through their respective story, whether it was told on the page or the screen, to be more likable and compelling, whereas I found “Bugonia’s” main pair to peeve me on a regular basis. Granted, as I say that, I more than likely reserve most of my despise towards Teddy, who is practically the captain of their respective duo. Don often seems to follow Teddy’s lead. Given their characteristics and quirks, it makes sense. I buy into their mannerisms, I just wish both characters were executed better. Teddy is not that compelling of a lead to me. In fact, at times, I think he is kind of a psychopath. Perhaps that is the point of such a character and maybe that is what Lanthimos is going for, but this movie genuinely made me uncomfortable. Everyone is the hero of their own story, but if that hero is downright insufferable, then their story is probably not worth my time. If I were not reviewing this movie, and I were strictly watching this for entertainment, I would probably have walked out of the theater because some of the things Teddy does on screen deeply turned me off.

With the VistaVision filmmaking, distinct colors, and prominent use of actress Emma Stone, this film is about as Lanthimosian as it gets. As for that last part, I will not deny that Stone gives a good performance. There is a sense of mystery to her character, particularly as to whether or not she is an alien. Without spoiling too much, I thought Stone’s specific tendencies matched that mysteriousness. This is not the best performance of her career, but I thought she handled the role well, and props to her for shaving her head.

“Bugonia” is not short on commentary. In addition to perhaps having something to say on humanity’s place on earth, this film is essentially a satire on echo chambers, conspiracy theories, and extremes. As a result, it also satirizes those who follow such things. But just because the film supposedly spends a couple of hours mocking its subject matter, does not make the end result comedic, entertaining, or satisfying. The lead character is either so deep in his echo chamber to the point where it is difficult for me to root for, care about, relate to, or even sit back and admire him. I like complicated characters, but there is a flavor to Teddy that feels too rotten for yours truly. He reminds me of Ernest Buckheart from “Killers of the Flower Moon,” there are very few, if any, qualities that appealed to me about this character. Both characters, deep down, come off as jerks. Sure, there are people these characters care about, but if I ran into both characters at the mall I would immediately speedwalk past them as I try to get as far away from them as I can.

I think I have come to the conclusion that Lanthimos and I have completely different personalities and artistic preferences. I often say on this blog and in life that art is subjective. Not everyone is going to think the same way, therefore not everyone is going to like the same things. But I did not think I could become less excited for whatever else Yorgos Lanthimos has up his sleeve. Sometimes being wrong just plain sucks.

In the end, “Bugonia” broke me. I must reiterate, my opinion of this film is obscenely unusual. Chances are it might work for you. Heck, as of writing this, the movie has Best Picture nominations from the Critics Choice, Golden Globes, and to my complete and utter amazement, it is one of AFI’s top movies of the year. I highly question and nearly gag at all of these accolades but that is just how the cookie crumbles sometimes. As far as I am concerned, “Bugonia” is not one of the top movies of the year, but rather a movie released this year. Are there good things about it? With some time to marinate on the film, I can conclude that there are. The film has a nice color palette. While I do not think the commentary works 100% of the time, I do appreciate the film for getting me to think about humanity’s place on this planet. Even though I am not a fan of Lanthimos’ style, I do think he did a fine job with the direction, particularly with getting effective performances out of the actors, most especially Emma Stone. I will also give some credit for the casting of Aidan Delbis. The actor, who has autism in real life, plays a character in this film who is also on the spectrum. I will give some points for authenticity and it shows in his performance. This is also Delbis’ feature film debut, so I hope this leads to him finding more work. Maybe if I watch the film a second time with a different mindset, chances are I could appreciate it more. But this first viewing, which nearly left me with a headache, gave me the sense that I would probably would not have any desire to put on this film for a second viewing anytime soon. I am going to give “Bugonia” a 3/10.

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

Courtesy of Neon – © Neon

Thanks for reading this review! My next review is going to be for “No Other Choice!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Scarlet,” “The Secret Agent,” “Hamnet,” and “Avatar: Fire and Ash.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Bugonia?” What did you think about it? Or, what is a film released this year that everyone seems to love except for you? Let me know down below! Scene Before is your click to the flicks!