Review | Scene Before

Novocaine (2025): A Painless Watch

“Novocaine” is directed by Dan Berk and Robert Olsen (Body, Significant Other) and stars Jack Quaid (Logan Lucky, The Boys), Amber Midthunder (Prey, Legion), Raymond Nicholson (Panic, Smile 2), Betty Gabriel (Counterpart, Jack Ryan), Matt Walsh (Life of the Party, Veep), and Jacob Batalon (Tarot, Spider-Man: Homecoming). This film is about a man named Nathan Caine, who may look and sound like an average guy with an everyday job. Only thing, he is unable to feel pain… Nathan must utilize this power in order to save the girl of his dreams.

I first saw the trailer for “Novocaine” at the tail end of 2024. It played during my screening of “Nosferatu,” and if you know my thoughts on that movie, you would probably pray that my experience of watching the “Novocaine” trailer made up for the middle of the road boringness that followed. Thankfully, it did. “Novocaine” looked like a lot of fun. I am no stranger to the action genre. The trailer for “Novocaine” definitely had some familiar traits, but it seemed to have its own flair. I ended up laughing a few times during the trailer, and yes, those moments where I laughed during the trailer, were equally as funny when I watched the final film.

Is “Novocaine” the funniest movie I have ever seen? No. In fact, I can say that if you are looking for comedy, you are going to get that, but you will also get some other things as well. If you are not a fan of violence, gore, and blood, then you might want to sit this movie out. But if you can handle those things, which I was able to, “Novocaine” is for you.

In all seriousness, if you are looking for a visceral, over the top action flick, “Novocaine” is a solid option. Its tone reminds me of “Nobody” combined with a superhero movie. “Novocaine” does not reinvent the wheel in terms of its structure or storyline, but it undoubtedly centers around a character I enjoyed getting to know more about. This movie is something of a “Superman” parody. In fact, when it comes to his personality, Jack Quaid’s line delivery and overall presence had a Clark Kent vibe. He is kind of dorky, but also likable. Nathan Caine does not have super powers. He cannot fly, he cannot spew heat vision, he cannot throw people across the planet, none of that. But his pain tolerance is much higher than that of a normal person. “Novocaine” is like if someone decided to tell a story making fun of Superman’s lack of weakness. Except in this case, the movie establishes that Nathan’s resistance to pain is based on real world science. The movie tells the audience that Nathan has congenital insensitivity to pain with anhidrosis, or CIPA. On that note, Nathan is not exactly invincible. The movie makes it clear that Nathan does receive pain, but he does not necessarily feel it. Regardless of whether this movie sticks to the roots of reality or tunnels of fantasy, I thought it successfully made me care about Nathan. In some ways this is a monumental achievement. I sometimes say it is much easier to make a character interesting because of their flaws… Because of the pain they face. While there is not a ton of physical pain that comes Nathan’s way, the narrative presents him with some notable challenges, whether it means maintaining a social life, saving people, or saving himself.

“Novocaine” is one of those films with a little bit of everything. A little bit of comedy, a little bit of action, a little bit of romance. Luckily, this film manages to blend all of these elements together to provide something that never feels tonally inconsistent. Whenever it switches gears, it always feels natural. When it comes to the action genre, I am not going to pretend there is a lot here that I have not seen, minus the painlessness gimmick. But the movie has fun with its premise and it ultimately works because not only do I like the premise, but I also dig the characters navigating themselves through said premise. Going back to the comedy and action, it also really helps that much of the comedy finds its way into the action sequences. There are some really funny moments that link directly to Nathan’s painlessness as well as the pain of others.

I will say one thing though, this is not a dealbreaker, but I find it weird how this film came out in March. Marketing-wise, it is one of the worst months they could have picked. For one thing, the film is set around Christmas, and there is also a robbery scene where a bunch of people wearing Santa outfits show up. Why March? Maybe it is still snowing in some places, but it definitely is not Christmas. Although having seen the film myself, I do not know for sure if “Novocaine” is going to be considered a Christmas classic down the line. I think it is a film that can be watched at any time of year. It is kind of like “Die Hard,” although in the case of “Die Hard,” watching it probably feels a little more special around Christmas. That said, I do not think “Novocaine” is going to have as much cultural significance as “Die Hard.”

If I have any other detractors for the film, there would not be a ton that stand out. Although the weakest part of the story is the one involving a couple police officers. They are essential to the film, but as far as characters go, I will not deny that as I look back, they are the most forgettable part of the cast. I cannot say I hated them though. Maybe others will feel differently. Compared to everyone else in the film, including the baddies Nathan comes across in his adventures, the cops did not have as much personality or charm. Again, I do not think they are poorly written. But if I had to name a weakest part of the cast, it would be them.

I also love seeing Jacob Batalon in this film. I love that he is getting more work. I especially love that he is getting work in something that is ten times better than “Tarot.” While I was not a huge fan of the way his character was written in “Spider-Man: Homecoming,” I think he played the part well and nailed the same role in the Marvel films that followed. Batalon kind of plays a similar supporting role in “Novocaine” with his character of Roscoe. Although in this case, he is playing someone a little more grown up. He is kind of nerdy, and is essentially Nathan’s best friend. He also happens to be the only person in Nathan’s social circles, at least until he meets his love interest, Sherry (Amber Midthunder). Additionally, the film establishes that the two have never met in person. I honestly kind of buy into this because I will admit, a lot of my best friends are people I have talked to exclusively online. We do not live nearby, so we do not have the means or time to meet each other, but we still try to keep in touch quite a bit. Maybe we will meet one day, but only time will tell. Nevertheless, I like this modern dynamic between the two. Not only do I surprisingly buy into it, but it also makes sense considering the personalities of both sides. The two spend a good amount of their time together playing video games. Who needs to go outside when you have an internet connection and a keyboard?

In the end, “Novocaine” is a ton of fun. I think this is a film that will satisfy action junkies, as well as some people maybe not as into the genre. That is as long as you are okay with a little blood and gore. Jack Quaid is solid in the lead role. Amber Midthunder plays an admirable love interest. This movie takes a cool concept and goes to town with it. I give it a recommendation. I am going to give “Novocaine” a 7/10.

“Novocaine” is now available to rent or buy on VOD and is available on Paramount+ for all subscribers.

Thanks for reading this review! If you enjoyed this review, I have more coming! Stay tuned for my thoughts on “The Ballad of Wallis Island,” “Secret Mall Apartment,” “A Minecraft Movie,” “Sinners,” “Thunderbolts*,” and “Rust.” 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 “Novocaine?” What did you think about it? Or, is there a movie set around Christmas, or another spiritual holiday close to it on the calendar that you enjoy watching outside of the holiday season? Let me know down below! Scene Before is your click to the flicks!

The Penguin Lessons (2024): A Poignant and Pleasant Penguin Picture

Posted on May 6 by Jack Drees

“The Penguin Lessons” is directed by Peter Cattaneo (The Full Monty, Military Wives) and stars Steve Coogan (Night at the Museum, Philomena), Jonathan Pryce (The Two Popes, Brazil), Vivian El Jaber (Guapas, Cha Cha Cha), and Björn Gustafsson (People of Earth, Parlamentet). This film is about an Englishman living in 1970s Argentina who rescues and looks after an orphaned penguin.

One of the coolest things about going to the movies is getting to experience something with other people. “The Penguin Lessons” is the latest example of one of those events. Partially because this is a film I would have probably waited a bit before going to see by myself. Granted, the trailer, for the few times I saw it, won me over, but this was not my kind of movie. I picked this movie to watch with a couple other people, particularly my mom and grandma, as an equalizer. I thought it would be something we would all agree on.

Thankfully, the decision to watch this film was a wise one. “The Penguin Lessons” is one of the most adorable films I have seen in a long time. I am the furthest thing from a pet person, but even I was captivated by the connection between our film’s protagonist, Tom, and a penguin who eventually winds up going by the name Juan Salvador. The film itself follows a predictable path, where you have a guy who could care less about owning a penguin, he is essentially obligated to take care of it, and he ends up forming an unlikely bond with it. Although the film is much more than that. It is a look into a tragic time for Argentina, where its people were noticeably divided and under dictatorship rule.

In some cases, the penguin in this film seems to serve as an escape from the troubles Argentina’s people were experiencing at this time. We see him not only as Tom Michell’s pet, but also as a reward for his class. There is a scene where we see the class spiraling into chaos, and to calm him down, Michell goes into his nearby home, grabs the penguin, and walks into class with it. Having had time to think about this movie, I probably would have had a much different reaction to this scene if Michell suddenly brought in a dog or a cat, considering a decent number of people are allergic to them. That said, in fairness, there are not as many known records of people having penguin allergies. It is nice to see this group of students experience a moment of comfort and joy in what is clearly a tense time. Some of these boys may be immature or part of the problem, but we see them lighten up a bit because of this one animal.

Some of the best films have something to say about what it means to be human. At certain points, “The Penguin Lessons” is not afraid to show the worst of humanity, as this film is set in an Argentinian dictatorship where anyone on the street can be captured. “The Penguin Lessons” reminds me of humanity’s unique connection to other creatures. We do not just bond with our own kind, but also many others. In fact, the penguin in this film sometimes shows it is easier for certain people to step up for another animal than it is for them to step up for another human being, even if they see another human being in serious danger. In some cases, that may be because we do not want to risk our own lives, partially to the blame of, unfortunately, other humans.

The film may be set during a dark, gritty time, but it manages to pack plenty of joy and levity into just about every other scene. If you are looking to escape from the problems of the real world, this movie surprisingly works, despite also presenting a world with prominent problems of its own. The first 30 minutes of this film, especially when we first see our protagonist and the penguin in the same place, is sometimes laugh out loud funny. There is a line, I will not say what it is, but you will know it when you hear it, that Tom says twice in a span of several minutes, and I was almost rolling on the floor. It is not so much the line itself that is funny as much as it is the delivery. There are moments where Tom finds out what it is like to clean up bird poop, but much to my delight, the film does not treat it so much like a gag.

This film is directed by Peter Cattaneo, who was previously nominated for a Best Director Oscar for “The Full Monty.” With “The Penguin Lessons” being a 2024 release to some degree and having its wide release this early in 2025, I do not know if Cattaneo is going to get another nomination, but if the Oscars were tomorrow, his presence amongst the nominees would be debatable. Between his perfect balance of comedy and drama, as well as the timing connected to both of those genres, Cattaneo knows exactly what he is doing.

Another reason why Cattaneo knows what he is doing shows through the performances. This film is led by Steve Coogan, who I have seen in a number of films before. But I am not going to lie, I had no idea who the lead was for this film going in,. As I was watching, I thought, much to my embarrassment down the line, that I was looking at Hugh Grant. The two actors have their aesthetic individualities, but for whatever reason they do look surprisingly similar. Steve Coogan in this film sort of reminds me of a Hugh Grant type. His character, Tom, is reserved and comes off as if he is stuck in his ways. Yet at the same time, if you get to know him, you will realize he is a wholesome person. While Tom may seem like a grump on occasion, he stands firmly alongside Juan Salvador the penguin as the film’s heart and soul.

The film clearly establishes Tom’s lack of enthusiasm for keeping a penguin from the getgo, but never once did I think he was a jerk. Heck, if someone randomly handed me a penguin, I would probably resist the idea of keeping it too. But this film shows the fascinating journey of what happens when you choose to keep a pet you never wanted, and how taking on such a responsibility can be rewarding.

In the end, “The Penguin Lessons” is a well-paced, well-written delight. If you are looking for a film that focuses on Argentinian history, it might be for you, but you may also want to look elsewhere. Ultimately, this is an adorable story about a man and his penguin. If that is what you signed up for, you will be satisfied. Steve Coogan gives a heck of a performance. It is still early, but I will be interested to see what other portrayals could top it throughout the year. I highly recommend “The Penguin Lessons,” and I am going to give it an 8/10.

“The Penguin Lessons” is now playing in theaters and is also available to rent or buy on VOD.

Thanks for reading this review! If you have been paying attention to my recent posts, you may have noticed my last couple have focused heavily on game shows. If you have not yet checked them out, be sure to read my thoughts on “The Luckiest Man in America,” the new movie based on a couple of infamous “Press Your Luck” episodes, as well as my thoughts going into the upcoming season of “Who Wants to Be a Millionaire.” If you want to see posts like these 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 Penguin Lessons?” What did you think about it? Or, what is your favorite movie involving penguins? I’ll even accept “Batman Returns.” That movie is sick. Let me know down below! Scene Before is your click to the flicks!

The Luckiest Man in America (2024): A Decent Adaptation of Arguably the Most Exciting Game Show Episodes of All Time

Posted on May 2 by Jack Drees

“The Luckiest Man in America” is directed by Samir Oliveros (Bad Lucky Goat, Cactus Blossom) and stars Paul Walter Hauser (Inside Out 2, Cobra Kai), Walton Goggins (Justified, The Shield), Shamier Anderson (Wyonna Earp, John Wick: Chapter 4), Brian Geraghty (Chicago P.D., Boardwalk Empire), Patti Harrison (Shrill, Together Together), Haley Bennett (The Girl on the Train, Hillbilly Elegy), Damian Young, (Amateur, Ozark), Lilli Kay (Your Honor, Yellowstone), James Wolk (Mad Men, Zoo), Shaunette Renée Wilson (Billions, The Resident), David Rysdahl (Nine Days, Fargo), Ricky Russert (I, Tonya, Banshee), David Strathairn (The Bourne Ultimatum, Good Night, and Good Luck), Johnny Knoxville (Jackass, Action Point), and Maisie Williams (Game of Thrones, Doctor Who). This film is inspired by true events and centers around a “Press Your Luck” contestant who has figured out the secret to winning as much money as possible.

I have had a habit of balancing several random hobbies and interests, no matter how atypical. Of course, with this being a movie blog, it would come as no surprise that I love movies. Ever since I was a kid, I loved riding elevators for fun. I still do. So you have a “normal” hobby, and a “less normal” hobby. I also have another interest that I would personally put in between those two when it comes to normalcy, specifically game shows.

As someone who loves movies and game shows, part of me thought for years that the subject matter for “The Luckiest Man in America” would make for a compelling film. For those not aware, the story is based on Michael Larson’s two-episode appearance on “Press Your Luck” in 1984, at which point he broke the record as the biggest winner in game show history. It also took the “luck” out of “Press Your Luck,” as those working on the show came to realize Larson figured out the board’s predetermined patterns and used his knowledge to win a six figure total.

I was really looking forward to this film. My excitement for this project was similar to how I would feel going into a project from one of my favorite directors like Steven Spielberg. I am happy to confirm the film is quite enjoyable, but if you want the best version of the story, this movie is not it. It is good, but not great.

This is not to say you should avoid this movie. In fact, if it is playing near you, which it absolutely likely is not as of this publication, I recommend you give it a shot. By itself, this is a fascinating story and I think it has the potential of winning a lot of viewers over. I think you will have a good time. But just know that there are better options out there regarding the same subject matter that I would more highly recommend.

If you remember my review for “80 for Brady,” which is set during Super Bowl 51, I said the football game by itself is far more compelling than the movie that features it. Similarly, I highly recommend you check out Michael Larson’s “Press Your Luck” episodes on your own time. They are available on YouTube, or they might eventually air as a rerun on BUZZR or something. There is also a solid documentary on the matter called “Big Bucks: The Press Your Luck Scandal.” It does a great job at diving into Larson’s tendencies during the game, as well as his relationships with people on set and his loved ones.

“The Luckiest Man in America” bridges a weird gap to the point where parts of it come off as played up and Hollywoodized. Yet at the same time, the film spends a lot of time on a Hollywood game show set, specifically the one for “Press Your Luck,” that seems to lack the electricity of the original show in the 80s. I remember watching the broadcasts these movies are based on and the crowd was somtimes unhinged, literally losing their minds like animals. It was like Black Friday except in this case the crowd of people was rooting for a stranger to get their hands on a big TV before they did.

Although as someone who has been in live audiences for various TV programs, including two game shows, I did enjoy how hard the film leaned into the list of instructions the audience was given during their visit to the set. They are cued on when to clap, when to boo, as well as when to laugh. If you have ever been in a live audience for a TV show it is a lot of fun, but sometimes you realize that some of what you end up doing is part of a script. The movie even shows a moment where they have to redo a key moment of the game because Michael ended up swearing on camera.

The film is based on real events, but it ends up changing a surprising amount of what has been televised. Some of these include small changes like sounding off the “Price is Right” fail horn whenever someone hits a Whammy or the order in which the contestants answer the trivia questions. There is also a more sizable change involving the Home Player Spin, which was a special event featured in the actual taping in which Larson appeared, but they changed it to play more to the drama of the film and the characters involved.

I have no problem with adapting something for the screen and changing the source material. In fact, one of my problems with the 2019 remake of “The Lion King” is that the film is too similar to the 1994 original. Although a lot of the changes brought to “The Luckiest Man in America” felt out of left field considering this production is based in reality. This is not based on a book, not a video game, nor a TV show. …Okay, well it is kind of based on a TV show. But the point is, I would be down for these changes if they made the story better, but some of the drama added to the film felt forced and fabricated. The film eventually spirals into hints of ridiculousness. Sometimes it is entertaining, but it is still ridiculous. “Once Upon a Time in Hollywood” proves that you can change something that is true and still have it be great. Unfortunately, “The Luckiest Man in America” is not quite on that level.

The film does have a lot to rave about though. The Press Your Luck set, while not entirely the same as the original from the 80s, is about as dead of a ringer as you can get. Props to the design team. The set came out fantastic. At times, the film definitely feels small, but when it is on the “Press Your Luck” set, it is larger than life.

My compliments on the film’s look also extends to the characters. Their fashion choices match the ones we see on the show’s episodes. Paul Walter Hauser looks a lot like Michael Larson himself. I thought the hair and makeup department did a good job at styling him to fully resemble the infamous contestant. If I had any knocks when it comes to the looks, I would say the biggest one would be towards the star of “Press Your Luck,” Peter Tomarkan. For the record, this is not a diss towards Walton Goggins. He did a fine job in his role and I thought he was a solid choice to play the host. But the way his hair was styled looked incredibly artificial. I know on-screen talent like game show hosts are often dolled up to look a certain way on camera, but Goggins looked like an action figure at times. His look was a bit overdone.

Although going back to Paul Walter Hauser, his transformation into Michael is immaculate. If you watch the real Michael Larson, chances are you could find him eccentric at times. He has the personality of a curious, young boy in the body of a grown man. He is expressive and oftentimes giddy. The film clearly paints Larson as a dreamer and does an effective job at representing him as an overzealous “Press Your Luck” fan.

In fact, Larson’s competitors, Ed and Janie are also fun to watch. They also match their real counterparts in terms of their delivery and style. Ed (Brian Geragthy) is over the top and full of enthusiasm. On the other hand, Janie (Patti Harrison) is a little more reserved, but will occasionally pipe up every once in a while. In service to the film’s narrative, Ed sometimes becomes Michael’s voice of encouragement, while Janie channels the heebie jeebies. She is sometimes annoyed by Michael, although the movie makes it clear he means no harm towards her or anyone else in his path. The film even tries to go for the emotions regarding Michael’s family, particularly his spouse and daughter.

I will also compliment John Carroll Kirby’s score. It is very wacky, very 80s. Sometimes it gets a little overly obnoxious, though not to the annoying degree that I experienced watching “Challengers.” That said, I did watch this film alongside my grandparents, and my grandmother in particular thought the score could have been turned down a notch or two at a certain point.

In the end, I do recommend “The Luckiest Man in America,” but again, if you want a better version of this story, just go watch the actual “Press Your Luck” episodes or “Big Bucks: The Press Your Luck Scandal.” They are both available on YouTube. The film runs at a breakneck pace and provides a unique spin on a true story. It is chock full of solid acting, especially from Paul Walter Hauser. Even if you are not familiar with the material featured in this movie, I would say it is still a decent watch. I am going to give “The Luckiest Man in America” a 7/10.

On a sidenote, I never reviewed this, but I try to endorse this project whenever possible… If you want a great piece of media based on a true game show scandal, go watch the miniseries “Quiz.” It is based on Charles Ingram’s fraudulent run to the top prize on the British version of “Who Wants to Be a Millionaire,” as well as select events that play out before and after. I give it the highest of recommendations. I would say you should even phone your friends about it.

As of this writing, “The Luckiest Man in America” is not playing in theaters, nor is it available on any streaming platforms.

Thanks for reading this review! If you want to hear me talk a little bit more about game shows, please check out my recent post I did regarding how unexcited I am for the upcoming season of “Who Wants to Be a Millionaire?“. It is not often that I have a chance to talk about television. But when it comes to this subject matter, I had to get this off my chest. This post involves topics I have been thinking about for quite some time so I had to scribble those topics down and discuss them. As for upcoming reviews, you can soon see my thoughts on “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” “A Minecraft Movie,” “Sinners,” and “Thunderbolts*.” 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 Luckiest Man in America?” What did you think about it? Or, have you ever watched “Press Your Luck?” What do you think of the program? Let me know down below! Scene Before is your click to the flicks!

Hans Zimmer & Friends: Diamond in the Desert (2025): The Most I Have Fanboyed Over a Movie in a Long Time

Posted on April 24 by Jack Drees

“Hans Zimmer & Friends: Diamond in the Desert” is a concert film directed by Paul Dugdale. The picture features performances from a Hans Zimmer concert as well as several interviews featuring people Zimmer has worked with over the years.

I was somewhat hesitant to talk about this film. Not because I thought it was bad, or I wanted to easily forget about it, but it all comes down to a lack of experience. I can safely say I have not watched many concert films. In fact, to this day, I never reviewed a concert film on Scene Before. Yes, even that “Eras Tour” movie that made a decent amount of money when it came out. I am not a Swiftie, to be honest. In fact, my experience of attending concerts in person is next to none. I have sensitive ears, so attending obnoxious events like these are not often my first choice. Although, Hans Zimmer is one of the few artists I have seen live during his tour, fittingly titled “Hans Zimmer Live,” at Boston’s TD Garden last year, which leads me to another reason why I almost avoided reviewing this movie.

I am a huge Hans Zimmer fanboy.

If there one artist that has defined my life over the past decade, it is Hans Zimmer. Not just because he has done some of my favorite movies, but his variety of approaches to composing his music. In one movie, he will go super electronic, in the next he will do things a bit more on the orchestral side, sometimes he will go full rock and roll. Sometimes a bit metal. Zimmer is one of the greatest musicians alive. When I would do homework after school, blaze down the highway on road trips, or even trek on Amtrak trains, Zimmer would often be my artist of choice. Going into this film, I was a bit worried that I would be so lost in what I love about Zimmer’s music that I would forget that there was a movie in front of me to potentially critique.

We will start this review off with some bad news for the filmmakers. Despite my fanaticism, and it was definitely on display during my experience of watching the movie, I have some negatives to point out. They are not game-breaking, but still.

There is a scene in the film where we see Hans Zimmer suggest that the audience was not allowed to take photos or use their phones during the concert. Shortly after, he essentially says “Screw it,” and allows everyone in the room, including him, to take a photo of the exact same moment in time. There is nothing wrong with the concept of this scene. In fact, it is a cool, community-driven moment of the movie. But when the film later features a ton of quickly spliced shots of people recording the concert, it makes me wonder if that “rule” existed to begin with. For the record, during my show in Boston, camera use was fair game, assumingly as long as we did not engage in flash photography. Perhaps the same was true for the concert he did in the film. Maybe Hans Zimmer and crew just wanted a good scene for the sake of a good scene. I have no clue.

Before we get to my next negative, I will state one positive, and it is that the music sequences outside the venue are not only fitting, but incredibly creative and very well put together. They start the concert off with a piece from “Dune” and it makes you feel like you are in the middle of an Arrakis-like landscape. When the film gets to “The Dark Knight,” it becomes an obnoxious rush through the city. Later on, when the movie gets to “Interstellar,” they eventually transform the set into a cosmic wonder. The efforts on display to make the most stunning spectacles possible are nothing short of magnificent. That said, if I had a nitpick, the film spends so much time outside the venue for the “Interstellar” sequence that I wish I could have been in the room with the audience, seeing their reaction to the musicians playing the music in front of them.

In fact, if you look hard enough during the movie, you will notice a disco ball in the middle of the arena. Having been to the concert that inspired this project, I can confirm that the ball was utilized during the “Interstellar” portion of the concert. We never see it used during the movie. Then again, I went to the concert with my dad, and he told me while he did see the ball at one point, he never noticed the ball being used during the “Interstellar” sequence. Perhaps no one could figure out a way to show the ball and make it look cinematic, but part of me would have liked to see a closer look at least once.

Although if you are a Hans Zimmer fan, like me, you are in for a treat. If you missed the Hans Zimmer Live concert, this movie shows most of it. There are a couple pieces missing, but the film is already quite long so I can understand why a couple parts were taken out. The film also features several interviews between Zimmer and some of the people with whom he has a connection to in the industry. Some of these include producer Jerry Bruckheimer, musician Pharrell Williams, director Christopher Nolan, and actor Zendaya. The film is not short on notable names. Some of the more prominent members of Zimmer’s band are not part of the talks like Tina Guo or Lebo M, but they do get their shoutouts during the concert itself.

These interviews give fascinating insights as to why Hans Zimmer attached himself to the movies he did. I found Zimmer’s story on his connection to “The Lion King” to be particularly powerful. In some ways, it enhances the connected concert sequence, and might also enhance “The Lion King” movie itself. That says something because it is a spectacular film.

Additionally, the interviews also highlight fans’ perspectives. When we get to Zendaya’s interview, a much younger individual than Zimmer, she talks about her connection to the composer’s music and the films in which they are a part of. Again, going back to “The Lion King,” she highlights it is a film she enjoyed growing up. Zendaya also says that “Interstellar” is a movie she adores and the two get into what can be described as an apparent resurgence of one piece of music from that film that is used on TikTok on a regular basis. The movie reveals just how much of an impact Zimmer has had on the people who had the pleasure of listening to him over the years.

If you are not familiar with Hans Zimmer, I would still highly recommend checking out this film. As of this review, being able to do so is probably near impossible at this point. But if there is ever a legal way to do it, give it a chance. Because even if you do not know the name Hans Zimmer, you probably know some of his work like “Pirates of the Caribbean” or “Man of Steel” or “Gladiator.” The concert itself is a sight to behold. The camerawork both in and out of the arena is immaculate. The lighting onstage is downright jaw-dropping. There are some shots that go on so long yet feel so pristine and yet the film also treats its audience to some crystal clean editing that flies at supersonic speed. This film is an experience.

Even if you have not seen any of the films represented during the concert, this is still a great time. In fact, despite my film-watching experience, I am proof of this. I still have yet to see “Dark Phoenix.” Judging by what I have heard about the film, I might be better off for avoiding the film up until this point. But good movie or not, that score nevertheless made it into the setlist, and it is a straight-up frenzy of electronic mayhem. Though I will warn people, that part of the film contains a lot of colorful flashing lights. If that is not your thing, you may want to fast forward through that, close your eyes, or skip this film altogether because that is not the only flashy scene in the final cut. Though that one in particular stands out to me. That said, if you are like me and you know Hans Zimmer’s work, this film is almost like a dream. If you are less familiar with Hans Zimmer, still give it a shot anyway, because I think you will find something in it to enjoy. Going back to, again, the story he gave as to why he ended up embracing “The Lion King,” it might even make you appreciate certain movies he did a little more.

In the end, “Hans Zimmer & Friends: Diamond in the Desert” is a giant ball of euphoria. It is a near perfect experience. I found this movie to be equally as electrifying as one of Hans Zimmer’s scores. It sucks you in from the first minute and quickly becomes something totally over the top. The show is fantastic. The music videos are creative. The interviews are fun to watch. You might learn something new by the end of this two and a half hour thrillfest. If there is any legal way you are able to check this project out, I highly recommend doing so, because this is truly something special. I am going to give “Hans Zimmer & Friends: Diamond in the Desert” a 9/10.

“Hans Zimmer & Friends: Diamond in the Desert” is unfortunately not playing anywhere as of posting this review. There is no information available on a home release date at this time.

Thanks for reading this review! Turns out, my next review is going to be for a film that I also admittedly have been fanboying over simply based on the concept. If you know me in real life, you know I love game shows. And if you are aware of the true story behind this film, you would have to imagine the utter excitement I have been feeling for “The Luckiest Man in America.” Also stay tuned for my thoughts on “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” and “A Minecraft Movie.” 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 “Hans Zimmer & Friends: Diamond in the Desert?” What did you think about it? Or, what is your favorite Hans Zimmer score? Let me know down below! Scene Before is your click to the flicks!

Locked (2025): A Hilarious, Torturous Thriller That Dives Into Humanity’s Entitlement

Posted on April 20, 2025 by Jack Drees

“Locked” is directed by David Yarovesky (Nightbooks, Brightburn) and stars Bill Skarsgård (IT, Boy Kills World) and Anthony Hopkins (Thor, The Silence of the Lambs) in a film where a carjacker gets trapped inside of a luxury SUV owned by a mysterious man who wants to teach him a lesson about his lifestyle.

It has been hard to find time to go to the cinema in March, so any opportunity I can get to do so, I will take in a heartbeat.

Well, except for “Snow White.” I am honestly not interested in any more Disney live-action remakes for the time being. Additional apologies to “Lilo & Stitch” as well. I think I will be giving my money to the new “Mission: Impossible” the weekend that film comes out.

Thankfully, in March’s second half, the trailer for “Locked” sold me and got me to buy a ticket shortly afterwards.

Not only does “Locked” have solid talent on display like Bill Skarsgård and Anthony Hopkins, but the film looked like it would have fun with its simple concept. Essentially, a man named Eddie enters someone else’s unlocked car, and when he tries to get out, he is stuck and must deal with the unfamiliar surroundings as well as the virtual presence of an utterly hilarious geezer named William. Sounds simple, right? It might. Yet the film goes balls to the wall with its execution between a couple of powerhouse lead performances, and its implementations of one obstacle after another, no matter how convenient or absurd.

I did some research while writing this review and found out that “Locked” is the latest adaptation of a 2019 Argentinian film called “4×4.” I did see that title during the credits, but I was surprised to know that this was the fourth iteration of a film that was finished less than a decade ago. Apparently the film also has a Brazilian remake, as well as another in the Telugu language. To be fair, the premise works in several environments.

For the record, “Locked” was technically shot in Canada, but the English-language film has done much of its marketing in the United States, and uses well known Hollywood stars. Therefore, when connecting this movie to the United States, it works perfectly not only because we are a car-centric country. Not only because we sometimes put significant value on cars. But in regard to this movie’s deeper meaning, it also helps that the United States may be one of the most individualistic countries on the planet. While the movie is about someone being trapped in a car, if you look deeper, the movie is a dive into humanity’s selfishness.

Take Eddie for example. The movie taps into some addiction complications Eddie has. Early on, we see he does not have enough cash to pay for an important vehicle repair. Granted, cars can be pricey to maintain, but we also see that some of his other investments such as drugs and gambling could be getting in the way of more important aspects of his life. Additionally, he has a daughter who he seems to care about, but is not perfect when it comes to supporting her or being there for her. I do not have kids, but in one of my favorite movies, “Interstellar,” there is a line from Cooper that I think about sometimes where he suggests the reason why he is still around is to be a memory to his children. In comparison to Cooper, Eddie is not a role model by any means. He is far from a perfect protagonist, but I like him as a character despite his issues, he clearly loves the people in his life. That is despite him showing barriers that keep him from showing that love.

At the same time, we see Eddie questioning William, and how he got to live a luxury lifestyle. After all, Eddie entered a clearly expensive vehicle, so it is not surprising to see him ask William if he had a head start of some kind. Meanwhile, the film reveals that the two have different educational backgrounds. William has book smarts, Eddie has street smarts. William spent time in the classroom, Eddie was self taught. There is clearly a sense of snobbery when we dig deeper into William’s point of view. The movie shows that entitlement, a quality that both of these characters possess, does not necessarily come from having it all. Entitlement is not specific towards one class of people. Humans, at their core, want everything. And at the point where we do have everything, we do not necessarily have the urge to settle down.

The film mainly takes place in a car that is almost always in park. Yet pacing-wise, the narrative gets into gear to the point where several cops would be following it in a high speed chase. “Locked” is heavy on language, and by the midpoint, violence. This movie dials things up to an 11 by that point. Every random gag, no matter how unnecessary, landed for me. I do not want to reveal every single one, but there is one constant back and forth that had me dying in the beginning where William would call out Eddie for his vulgarity and lack of manners. When it comes to his delivery, Anthony Hopkins at first sounds like a sweet, reserved old man. As the film progresses, we see further hints of aggressiveness within his character. The more of a loose cannon Anthony Hopkins becomes, the more fun the film gets.

The film is quite a short watch. Granted if I had another positive to add, it is that every minute of the runtime is either essential to the story, or at the very least, downright entertaining. On that note, I will say the film does end somewhat abruptly. Is it a fitting ending? Sure. Is it a satisfying ending? One could say that. But I think the movie would have benefitted from being a minute longer and letting the actual end scene play out just a little. Even so, the film does end on a decent note and fulfills all the important arcs. That is perhaps my one gripe with an otherwise near-perfect film.

In the end, “Locked” is an exhilarating joyride. Even when the movie stays in the same place, the overall pace is fast and furious. Unsurprisingly, Anthony Hopkins is on fire with his role. The same can also be said for the film’s lead, Bill Skarsgård, which is also not surprising because that whole family is loaded with talent. I have been impressed with Skarsgard’s script choices lately. Sure he has done mainstream titles like “IT,” which was fantastic. The sequel, not as much, but it was still enjoyable. But he has had an impressive run in recent years with smaller films like “Barbarian” and “Boy Kills World.” “Locked” is yet another small wonder for this talented actor. I hope he continues to land roles as captivating as this one. The film made laugh, and then think. It is a great time overall. I am going to give “Locked” a 9/10.

“Locked” is now available for preorder on VOD and will be available to stream starting April 22nd.

Thanks for reading this review! If you enjoyed this review, I have plenty more on the way! My next review is going to be a first for me. For the first time in Scene Before history, I will be sharing my thoughts on a concert movie, specifically “Hans Zimmer & Friends: Diamond in the Desert.” I very rarely watch concert movies, but I love Hans Zimmer’s scores, so I jumped at the chance to check this film out in theaters last month. Also, stay tuned for my thoughts on “The Luckiest Man in America,” “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” and “A Minecraft Movie.” 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 “Locked?” What did you think about it? Or, have you ever been trapped somewhere? If you dare, let me know your crazy stories down below! Scene Before is your click to the flicks!

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

Posted on April 18, 2025 by Jack Drees

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on April 13, 2025 by Jack Drees

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

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

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

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

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

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

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

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

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

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

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

Riff Raff (2024): Having a Cast This Good in a Movie Just Shy of Being Solid is a Crime

Posted on April 6, 2025 by Jack Drees

“Riff Raff” is directed by Dito Montiel (Empire State, The Son of No One) and stars Jennifer Coolidge (American Pie, The White Lotus), Ed Harris (The Truman Show, Apollo 13), Gabrielle Union (America’s Got Talent, Bring it On), Lewis Pullman (Top Gun: Maverick, Bad Times at the El Royale), Miles J. Harvey (Supercool, The Babysitter), Emanuela Postacchini (The Seven Faces of Jane, Who is America?), Michael Angelo Covino (Keep in Touch, The Climb), Pete Davidson (Saturday Night Live, The King of Staten Island), and Bill Murray (Ghostbusters, Stripes). This film is set during a family reunion when a criminal’s life is suddenly turned upside down.

February is typically a dumping ground for movies. Although in recent years, the month has had a few attractive titles at the box office that would bring in a vast audience. In fact, this year we had “Captain America: Brave New World” as the month’s hot ticket. I am not going to pretend that “Riff Raff” had anywhere close to the box office potential of Marvel’s latest film, but if you look at the film’s cast, it would, in theory, bring some unlikely viewers in the door.

With the film’s cast being the biggest selling point, I am not surprised to say that they collectively end up being the highlight. Each individual brings their A-game and they all have decent material to work with. Is the material award-winning? No. Will the material go down in the history books? Probably not. But if you are looking for an hour and a half to kill, this might do. Perhaps just barely.

If you like the vibes of Rian Johnson’s “Knives Out” combined with a bunch of Quentin Tarantino’s filmography, then “Riff Raff” is for you. This film features a peculiar family who all come together at the same place. Even families whose members vowed to never speak to each other after that one time they discussed politics at Thanksgiving can tell you that this is clearly not a typical family gettogether. On top of that, the film is violent, bloody, and visceral. It is not the most grotesque picture of all time, but it is rather dark.

You may have noticed in the last couple paragraphs that I refused to take select thoughts I had on the film to an extreme. This is a consistency I have noticed regarding the film as I write this review. “Riff Raff” is a film that lacks standouts, both positive and negative. Sometimes I wonder if that is worse than a straight up bad movie. Because at least you can remember a bad movie. It is an experience you want to forget, but it often stays with you for a reason. This movie, while it has its moments, feels kind of disposable in the long run.

That said, there are some standouts in this film, one of which is Jennifer Coolidge as Ruth. She is funny, charming, and brings a respectable energy to her role to the point where I can only see Coolidge playing this particular character. There are certain portions of the film where you can clearly see the nerves coming out of Ruth to the point where she even tries to defend said nerves by suggesting they turn her on.

When you put Jennifer Coolidge in the same room as Bill Murray, Pete Davidson, and Ed Harris for example, such a concept sounds promising. In fact, all of these actors do a great job with their roles and have solid chemistry with one another. If I had to be honest, if you have a cast this promising, I wish the script were pinched up a little more to make the experience of watching all of these people at the same time just a bit better. Going back to “Knives Out,” the great thing about the movie, and even its 2022 follow-up, is that the gangbusters ensemble casts of both projects had great screenplays to back up their performances. I am not going to pretend that the screenplay for “Riff Raff” is broken. It works, it functions. Again, just barely. When I look back at this movie however, if I were to recommend it to somebody, I would recommend it on the idea of watching all of these big name actors come together as opposed to selling them on what kind of ride they are in for. The actors seem to offer more to the film, and as a result, the experience, than the writer does.

For the record, this film is solely written by John Pollono, who co-wrote one of my favorite films of the past decade that I did not review, “Stronger,” which is about a guy who was injured in the 2013 Boston Marathon Bombing. If I were to put these films side by side, I would easily choose to watch “Stronger” every single time. Although this is not to say “Riff Raff” is a heaping pile of malarkey. Pollono does a good job with “Riff Raff” by balancing humor with occasional drama. He also brings halfway decent stakes to the table.

I watched the film alongside my grandma as well as my mom. These two are not usually the target audience when it comes to bloody, violent films. Unsurprisingly, these two did not seem to walk out of the film thinking it was their favorite. But I would say in a way, the film seemed to do its job because it definitely generated a reaction out of them. The film has its hints of shock value, and there are some tense scenes where serious injury or bloody death seems imminent.

The film has some hilarious moments. There is one sequence past the halfway point featuring Pete Davidson and Bill Murray’s characters that had me in stitches. The sequence presents them with a neverending obstacle, and it was executed fantastically. “Riff Raff” is not the easiest film to identify within a certain genre. It is a little bit of an action flick. It is a little bit of a drama. It is a little bit of a crime story. It is a little bit of a comedy. When it comes to the comedy, it does not always hit, but when it does hit, it is sometimes a bullseye.

In fact, going back to those genres, one problem with this film is that it leans into being multiple genres at a time to the point where it never finds its footing and excels at one thing. It is like a more mature “Red One.” Although in this case, some of those genres perhaps barely surpass the “it’s fine” mark.

In the end, “Riff Raff” is neither great or horrible. It is the Little Caesars Pizza of crime movies. It delivers some enjoyment in the moment, but by no means is it going to sit in the hall of fame. Is “Riff Riff” going to end up being the year’s most memorable movie? No. In fact, it will likely be far from it. But there are also way worse options out there for your viewing displeasure. This is kind of in the middle of the road. It has been some time since I sat down and watched the movie so I am bound to forget some things, but truth be told, the more that time passes, the more I realize how forgettable “Riff Raff” becomes. The film has some decent moments that could squeeze it into a territory where I would say it is worth at least one watch, but I am nevertheless going to give “Riff Raff” a 5/10.

“Riff Raff” is now available to rent or buy on VOD.

Thanks for reading this review! I am sorry I have not posted a review for awhile. I have been busy with life, hobbies, as well as crafting the 7th Annual Jack Awards, which you totally should check out! It is available now for your enjoyment! That said, I do have more reviews coming including ones for “Nickel Boys,” “Mickey 17,” “Locked,” “The Luckiest Man in America,” “The Penguin Lessons,” and there is one film I saw recently that I have been debating as to whether I am going to review it or not, I just saw “Hans Zimmer & Friends: Diamond in the Desert.” It is a concert film, and I do not have a ton of experience with reviewing, or even watching those kinds of movies. That said, it was a great moviegoing experience and I would love to talk about it at some point. If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Riff Raff?” What did you think about it? Or, what is a movie with a solid cast that you think could have been better? Let me know down below! Scene Before is your click to the flicks!

The Brutalist (2024): A Fantastically Constructed Three Plus Hours at the Cinema

Posted on March 10, 2025 by Jack Drees

“The Brutalist” is directed by Brady Corbet (The Childhood of a Leader, Vox Lux) and stars Adrien Brody (King Kong, The Pianist), Felicity Jones (Rogue One: A Star Wars Story, On the Basis of Sex), Guy Pearce (Memento, Iron Man 3), Joe Alwyn (The Favourite, Billy Lynn’s Long Halftime Walk), Raffey Cassidy (Tomorrowland, Vox Lux), Stacy Martin (Vox Lux, All the Money in the World), Emma Laird (Mayor of Kingstown, A Haunting in Venice), Isaach de Bankolé (24, Black Panther), and Alessandro Nivola (Jurassic Park III, Amsterdam). This film is about a Hungarian-Jewish Holocaust survivor’s struggle to achieve the American dream.

“The Brutalist” was a movie that I have been trying to get to for nearly a couple months at this point. Unfortunately, I just never had the time to sit down for three and a half hours and commit to it. Thankfully, an opportunity opened up recently, and I went out of my way to a theater further away from home, because I wanted to get this movie under my belt before the Academy Awards. After all, despite the body’s questionable practices and relevancy, the film did win Best Picture – Drama at another awards show, the Golden Globes. Well that, and quite frankly, I was in much more of a rush to watch “The Brutalist,” instead of “Emilia Perez,” which won Best Picture – Musical or Comedy in the same show. That movie seems to have gotten a lot of praise during the 2024-2025 awards season. However, I have not seen as many people outside the core voting bodies share the kindest words about the film.

When you make a commitment to any movie, it has to be worth your money and time. That last part is extremely emphasized with a more sizable runtime. Thankfully, “The Brutalist” is worth both of those things.

Most of the movies I have reviewed on Scene Before are from the 2010s or 2020s, therefore I have not had the opportunity to talk about many titles that include intermissions. “The Brutalist,” released at the end of 2024, is one exception. An intermission itself is not a core part of a movie experience if you break it down, but in this case I thought it added to a nice, throwback feel.

That said, having an intermission introduces a problem that stood out to me, which is that if I had to pick one half of the movie to watch over the other, I would pick the second half almost every time. Granted, I understand why the first half exists. Without it, the movie would not work the way it does. But I found the second half to be better-paced. I found the characters to be at their most compelling. I thought the acting and atmosphere was upped a notch. I felt more passive watching the first half and more active in the second.

The movie was shot on 35mm, which for the record, is still a format used in modern movies. Last year’s “Twisters” is one such example. The film also used VistaVision, which I arguably did not experience to the fullest given how I watched the movie on digital projection. But the film itself, kind of like another Adrien Brody project, “The Artist,” has all these little touches of older cinema. The movie had all sorts of imperfections from frame to frame.

This movie also makes great use of color, or lack thereof in some cases. The film is not necessarily the most vivid, but despite the film’s grainy, dusty look, there are certain colorful objects in the film that stood out to me. There is a shot where two characters are hugging in front of a green bus that pops. This film also has really effective use of beige. There are some shots inside of a home where that color stands out. It is the little things that catch my attention in this picture. Speaking of shots, the opening of this film is one of the trippiest I remember seeing in recent memory, where we see an upside down shot of Lady Liberty. That part of the movie is ingrained in my memory not only for its unconventional yet immersive shot choice, but it is just the start of what “The Brutalist” stands for as a work of art.

When you break down “The Brutalist,” it is a representation of one’s journey and struggle to achieve the American dream. The movie starts off with a staple of that dream with the main character, László Tóth, a holocaust survivor and an architect, coming into Ellis Island, set for a better life. His journey comes with obstacles, such as leaving people he knows behind or sometimes taking jobs one can consider painstaking or filth-inducing.

I also find it interesting how the film is set in the 1940s to the 1980s. I did not see this at a festival or a special screening, but if I had a chance to talk to the film’s writers, Brady Corbet and Mona Fastvold, I would want to know if they think the idea of “the American dream” is still alive. This film does represent the continued aspirations of the American dream in regard to seeking a better life, but it begs the question as to whether the American dream is a thing of the past, or if it is still obtainable in the 2020s.

Pacing-wise, this film sometimes reminded me of “Blade Runner.” The film is very much a slow-burn. Combine that with a three and a half hour runtime, you have a recipe for a movie that I imagine will turn off a fair amount of the general audience upon their first impression. I say this because there are a lot of pauses between the characters’ utterances of dialogue. Very rarely do the characters actively respond to another individual right away. I thought this direction choice sometimes worked and tied into the film’s atmosphere, but at other times, was a bit distracting.

I liked Felicity Jones before watching “The Brutalist,” but she is a different kind of great in this film. She is not in the entire movie. But she ends up taking the spotlight in every scene towards the end. As the film culminates, she unleashes the most unhinged supporting performance I have seen in a 2024 film. I have not seen “Emilia Perez” so I cannot comment on Zoe Saldana’s performance. I am aware Saldana won the Best Supporting Actress category at the Oscars, but if I had to cast a vote, it would be for Felicity Jones because of not only how she represents her own pain, but also her urgency to relieve the pain of those around her. By the end of this film, I left thinking that I would do anything to avoid a screaming match with this individual. I did not know Jones had that kind of power in her.

In the end, “The Brutalist” is not my favorite movie of 2024, but it is one of the more well-crafted films of that year. Part of it has to do with the production design, but also the solid direction from Brady Corbet that has also led to excellent performances from actors like Adrien Brody and Felicity Jones. Breaking this film down, I found the film to pick up a bit in the second half compared to the first, but I still found the film as a whole to be worth watching. I know an Adrien Brody-led three and a half hour movie with an intermission set decades prior to its release shot on VistaVision sounds like the most pretentious movie that has ever pretentiated in the history of pretentiousness. Trust me, if you give it your time, you might enjoy it. The acting is great. The directing is even better. The story is one I think many people, especially those living in the United States, can relate to. I am going to give “The Brutalist” a 7/10.

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

Thanks for reading this review! Coming soon, I will be sharing my thoughts on “I’m Still Here,” “Riff Raff,” “Nickel Boys,” and “Mickey 17.” 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 Brutalist?” What did you think about it? Or, should more movies coming out today have intermissions? Let me know down below! Scene Before is your click to the flicks!

Love Hurts (2025): Sparks Barely Leap Off the Ground in This Action Flick

Posted on March 7, 2025 by Jack Drees

“Love Hurts” is directed by Jonathan Eusebio (300, The Fall Guy) and this is his directorial debut. The film stars Ke Huy Quan (Everything Everywhere All at Once, Indiana Jones and the Temple of Doom), Ariana DeBose (West Side Story, Wish), Daniel Wu (American Born Chinese, Into the Badlands), Mustafa Shakir (The Deuce, Luke Cage), Lio Tipton (Warm Bodies, Two Night Stand), Cam Gigandet (Reckless, The O.C.), Marshawn Lynch (Bottoms, Westworld), and Sean Astin (The Lord of the Rings: The Fellowship of the Ring, Teenage Mutant Ninja Turtles). This film is about a realtor whose past comes back to haunt him when he receives a message from his former partner-in-crime.

Everyone loves a comeback story, although in the case of Ke Huy Quan, I am going to channel LL Cool JJ and say that he has been here for years. The reality is, whether we knew it or not, Ke Huy Quan has remained the slightest bit active behind the scenes leading up to his big return in front of the camera, “Everything Everywhere All at Once.” If it were not for the deserved success of that movie, chances are we would never get a film like “Love Hurts,” which I was looking forward to. It kind of had a mainstream, 2010s, 2020s-esque action flick feel that you would get out of a film like “John Wick” or “Nobody” with some twists and turns, but like those movies, the choreography and scenes looked stellar in the marketing.

As off and on as I am about “star power” in a movie, Ke Huy Quan is the reason why I watched “Love Hurts.” But how could he not be? The actor played a significant role in my favorite film of 2022, won an Oscar, and when he is not busy taking names, he is taking selfies with every star he can find. This is part of why I am disappointed to say that “Love Hurts” is not that great.

“Love Hurts” is not horrible, but if I have any real highlights for the film, they certainly would not be for the characters. Some could argue that since this is an action movie one does not always come for the characters, but the way I see things, the less engaged I am with the characters, the less engaged I am with the action. I will defend the action scenes from a technical perspective. I do not think there was a single bad sequence. In fact, there are a couple that I am still thinking about and find to be incredibly creative. But this film seems to be more concerned in showing off what its talent can do, as opposed to what its characters can do.

If you are seeing this movie solely for Ke Huy Quan, then he is probably not going to disappoint you. Other parts of the movie might, but I do not think Quan is going to be one of them. Not only does Quan solidify himself as a buttkicking action star with his role of Marvin Gable, but he is charismatic. He brings a unique energy to this genre of filmmaking. A lot of our modern action stars like Jason Statham, Keanu Reeves, and Liam Neeson tend to have this obviously masculine aura to them both in terms of the way they look and act on screen. Ke Huy Quan very much screams cute, but not cuddly. I think the movie was smart to make him a dedicated real estate agent. Even if his character was not hiding something underneath, I think Quan is a good fit to play someone working in that industry.

This is a movie that I cannot see myself revisiting in its entirety, but instead rewatching certain clips on YouTube. Because there are a couple cool scenes where we see Marvin Gable either trying to defend his award, or dodge some baddies while trying to keep a house together for example. The movie goes at a brisk pace, and with an 84 minute runtime, that should not be a shocker. For the most part, the film is simple and effective in terms of progressing the narrative. It is not a unique narrative. But does have a soft flair one does not typically find in these types of action movies. As the film continues, however, things get more convoluted, and therefore, unmemorable.

Also, Ariana DeBose is in this film, a great actress in her own right, but I am convinced she needs a new agent. Yes, she was fantastic in “West Side Story.” But just about everything afterwards was critically panned or unmemorable. Between “Argylle,” “Kraven the Hunter,” and now this… She is not on the hottest of streaks. Yes, I liked “Wish.” I stand by that opinion. Yes, I liked “I.S.S.,” but not a lot of people thought it was worth seeing considering it failed to make its budget back. As I am writing this paragraph, I forgot the name of her character. That is not the best of signs. Granted, I have also forgotten the names of characters for movies I enjoy, but I bring this up because you might as well just name this character “the love interest” or “the girl.” The movie could have fleshed out this character more and individualized her to a better degree. It does however do okay when it comes to establishing Ke Huy Quan’s infatuation with her, but sometimes the film tells such a concept when it really should just show it.

Interesting enough, for those who do want to know the name of DeBose’s character, that, my friends, is Rose. For the record, I know people named Rose, and I am aware it is not the most uncommon name. But that has to be on purpose. It reminds me of a theory my dad has about Cliff Booth in “Once Upon a Time in Hollywood.” He thinks the character, who is accused of killing his spouse, has the last name Booth, just so the script can allow for someone else to refer to him as “John Wilkes Booth” in a scene.

The film is centered around Valentine’s Day, and this presents a potential problem for rewatchability in the same way I look at Christmas movies. I have nothing against watching “Fred Claus.” But I would not watch it outside of November or December. Unfortunately, “Love Hurts” is barely good enough for February. If you want a good Valentine’s Day-centric action movie, there is one already, and it is called “Deadpool.” Heck, it could even be a good watch around Christmas. Or literally any day of the year, it is perfect.

“Love Hurts” is the directorial debut from Jonathan Eusebio. I do not think he should automatically give up directing based on this one lackluster product. Although if he were to continue, I hope his sophomore outing is better than this. On the bright side, Eusebio at least has some credibility in the industry. He has shown his talents helping coordinate stunts and choreography in films like “The Fall Guy,” “Pirates of the Caribbean: At World’s End,” and the first three “John Wick” installments. Some of this film’s strongest elements are the action scenes, and it comes as no surprise knowing who helped direct said scenes.

In the end, “Love Hurts” neither left me infatuated or brokenhearted. If anything, the movie is just okay. If you put the film on silent, I would still pay attention to the visuals. But as I said before, this movie packs a lot in it by the time it is over that I did not really care about the film’s substance. I would love to see Ke Huy Quan in more projects. I am glad he is voicing a character in the upcoming “Zootopia” sequel, but I would also be open to more live-action roles as well. I think he is talented and would not be a surprise if he puts another Oscar on his shelf in the future. However, I do not think anyone will be winning any Academy Awards for this film. I am going to give “Love Hurts” a 5/10.

“Love Hurts” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next reviews are going to be for “The Brutalist” and “I’m Still Here.” 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 “Love Hurts?” What did you think about it? Or, who is an actor that has not done any work in a while that you think has a pretty good chance of making a comeback? Is there anyone you would like to see who has not been on screen in a while? Let me know down below! Scene Before is your click to the flicks!

	You’re Dating… on Good Fortune (2025): Comedy Ge…
	You’re Dating… on Joy Ride (2023): Four Young Wo…
	You’re Dating… on High Tide (2024): A Refreshing…
	They Will Kill You (… on Pulp Fiction (1994): That Is a…
	They Will Kill You (… on Joker: No Laughing Matter…