Review | Scene Before

Movie Requests – Meet the Guests!

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

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

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

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

Rosario Dawson

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

Sandi Harding

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

Chris Hardwick

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

Bryce Dallas Howard

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

Jason Mewes

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

Joel David Moore

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

Brian O’Halloran

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

Michael Rooker

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

Katee Sackhoff

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

Amy Sedaris

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

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

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

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

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

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

Posted on 5 Days Ago by Jack Drees

Just a note before we begin this post…

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

The guests are…

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on 18 Days Ago by Jack Drees

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on 29 Days Ago 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.

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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.

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 January 12 by Jack Drees

“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 January 10 by Jack Drees

“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 December 28 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!

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 December 27 by Jack Drees

“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.

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.

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.

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.

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.

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.

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 December 26 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 December 22 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!

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