Rita Moreno

Fast X (2023): Xtremely Atrocious

Posted on by Jack Drees

“Fast X” is “directed” by Louis Leterrier. It was originally supposed to be helmed by Justin Lin, who has done a few of the franchise’s installments, including the recent “F9.” However, due to drama with star Vin Diesel (xXx, Guardians of the Galaxy), he left the directorial position. So that’s fun… Although he does have a screenplay credit. Speaking of Vin Diesel, joining him is a cast including Michelle Rodriguez (Dunegons & Dragons: Honor Among Thieves, Widows), Tyrese Gibson (Morbius, Black and Blue), Chris “Ludacris” Bridges (Karma’s World, Crash), John Cena (Peacemaker, Blockers), Nathalie Emmanuel (The Dark Crystal: Age of Resistance, Game of Thrones), Jordana Brewster (Dallas, Lethal Weapon), Sung Kang (Power, Obi-Wan Kenobi), Scott Eastwood (Suicide Squad, The Longest Ride), Daniela Melchior (The Suicide Squad, Guardians of the Galaxy Vol. 3), Alan Ritchson (Reacher, Titans), Helen Mirren (Skyfall, The Queen), Brie Larson (Captain Marvel, Room), Rita Moreno (West Side Story, 80 for Brady), Jason Statham (Crank, The Transporter), Jason Momoa (Aquaman, Slumberland), and Charlize Theron (A Million Ways to Die in the West, Bombshell). This series of moving images that technically qualifies as a blockbuster film once again centers around Dom Toretto and his “family” as they must stop Dante Reyes from ending their lives.

We did it folks! We have reached TEN of these films now. ELEVEN if you count that one “Hobbs & Shaw” spinoff that was quite entertaining. …Yay? To be honest, I could not have been less stoked about “Fast X.” I have seen plenty of bad movies, including some to major franchises like “Star Wars,” “Jurassic Park,” and “Transformers.” Few movies like “F9: The Fast Saga” have reeked of such an abominable aftertaste. Why did it not work? Because it treated me like an idiot.

The “Fast and Furious” franchise has evolved to such idiocy over the years. It has gone from being “Point Break” with street racing to taking on a shark-jumping identity that only gets bigger, not to mention dumber, with each installment. From “Fast & Furious,” the fourth movie, to “Furious 7,” everything that resembled such shark-jumping never took me out. “The Fate of the Furious” and “Hobbs & Shaw” came close, but I still enjoyed the movies for what they were. “F9: The Fast Saga” feels like a lowest common denominator tentpole. Between John Cena’s stiff acting, Dom Toretto’s lack of charisma, and the forced space scene had me chuckling at it for the wrong reason, I cannot see myself watching “F9: The Fast Saga” ever again.

But I am one who believes in second chances. Therefore, for that reason, in addition to the fact that I feel somewhat obligated to put out a review, I decided to check out “Fast X” on opening night a couple weeks ago. The trailers honestly did nothing to excite me. In fact, I felt like was spoiling the movie for myself through whatever the heck the marketing campaign was. But I tried to act mature and let the movie speak for itself.

Safe to say, there were enjoyable moments. Maybe, one, two, or three. Because there are many others that I would rather forget.

This is, unfortunately, just about as bad as “F9.” I left “F9” feeling appalled as to how this franchise got to where it was, but I thought it had a couple cool ideas. I left “Fast X” feeling like I got punched in the brain. By the end of the film, I had perhaps the quickest 180 degrees shift I have ever experienced as a movie watcher. I went from liking where things were going, to wanting to scream like an unsatisfied customer at Disney World. Because there are times where the film has inklings of fun in it. But they are never enough to justify me paying money to watch the movie in the first place, and even in a couple more entertaining moments, they include some of the dumbest ideas and realizations ever brought to the big screen. I think I figured out what the X in “Fast X” stands for. No, it does not mean the number ten. It stands for Xcrement.

There is so much nonsense that happens in “Fast X” that I need to split this review into two or three parts to definitively explain all of what I need to say. I am not going to, however, because I would be a jerk. So, let us widdle down some things.

For starters, I am convinced that “Fast X” does not know how cameras work. Not that the film is poorly shot, it is in a word, fine. That said, there is a scene at the beginning of the movie that serves as a reminder of who the Toretto family happens to be. Not only is this as expositional as can be with a couple core characters standing in a large room doing nothing, but the footage used to talk about the Toretto family, are movie shots. Not security camera footage, not raw video that could have been uploaded to social media, but carefully crafted shots that are used in past films. It reminds me of “Batman & Robin” where a particular shot of Poison Ivy is reused for plot purposes, but that shot came from the camera shooting the movie with no inserted gimmicks, tricks, or added context. So either the “Fast & Furious” franchise is secretly one of the world’s most ambitious documentaries or this scene is as lazily set up as public transit in almost every corner of the U.S.. It does not take long for me to be taken out of the film, which is unfortunate because the film does try to give some stakes in certain situations. But even when that happens, it is difficult for me to appreciate it because I am not convinced anything in this movie will matter.

This movie has a ton of characters. But size does not matter, it is what you do with it. Not much is done with it to be frank, because there is almost no charisma from any of the characters! This includes the lead!

Domenic Toretto is arguably the most overpowered, unlikably boring protagonist who continues to maintain some semblance of relevance in our cultural zeitgeist. I remember when these movies made the heroes feel superhuman, but they continued to have some degree of verisimilitude to their actions. Dom is God at this point. Vin Diesel may have chosen to be Superman in “The Iron Giant,” but as far as I am concerned, if Dom Toretto were forced to fight Superman, Toretto has a chance of clobbering him at this point. Other protagonists, even in movies I do not enjoy, will have me guessing if they are going to make it out of a sticky situation. If anything, Toretto practically is the sticky situation in every scene. He is not the villain, but he is a man without weakness. And while anything’s possible, this franchise proves it, I would rather see characters who have to deal with their troubles because the reality is that nobody’s perfect. Sure, there are some added stakes in this film with Dom having a kid, and Jason Momoa plays a compelling antagonist. But those two things are not enough to make a good movie. This is where the “Mission: Impossible” franchise often succeeds where “Fast & Furious” does not. Because while the movies are fictional spy adventures, they have fewer fantastical elements and more interesting characters that keep me engaged in the picture.

In fact, going back to Dom’s kid, Brian, he is nicely portrayed by Leo Abelo Perry. I am not convinced that he looks like the offspring Dom and Letty would have, but nevertheless. He is good in the film. What is not good in the film, is Dom’s parenting skills. I know this film defies logic, physics, and science, but is it the dumbest time for me to ask why the heck Brian is able to drive at eight years old? I mean, he can… But, are there like, laws… Against that? Ah, who am I kidding? The only law this movie knows is Murphy’s Law.

Although there is one good cameo in the middle of this film. I will not say who the individual of interest is, because I had no idea they were in the film going into it. But they are seen while the film is set in London. Additionally, this individual has some of the funniest lines in the film by a long shot.

Also, if any characters were improved, it would have to be John Cena’s Jakob. Unlike the last movie, he is actually charming, more than just a buff body, and kind of funny. One of Cena’s strengths as an actor is comedy. Since his last outing in the “Fast” universe, he has definitely improved himself as a performer, and I think the writers have similarly improved on his character and relied on some of what made John Cena’s performance in “The Suicide Squad” pop. The character himself is a bit of a diversion from what we have seen in “F9,” but it does not change the fact that Cena’s continued commitment to his craft is shown here.

I am going to do my best to talk about the end of this movie without giving a ton away. Inside I am vomiting just thinking about it. There is, an absurd, albeit the tiniest bit engaging moment where Dom flees from a couple oil trucks. Okay… At least no one is in space. Then we get an out of nowhere cliffhanger. While somewhat abrupt, that moment gave me hope. I thought the movie for the most part was mediocre at best, but that scene nearly redeemed everything else because it hinted that there could be at least one ounce of stakes in this universe. THEN we get to the ACTUAL ending. Where we find a couple other characters witnessing something, then another something happens. Once the other something happens, I think I witnessed an achievement in storytelling that could only be awarded with a Razzie. I said “F9” gave “Sharknado” ideas. That honestly feels like the tip of the iceberg at this point for how ridiculous things get in this franchise. What happened?!

One of the common things I hear about another popular series of films, specifically the MCU, is that those movies are more like theme parks than actual films. There are a few theme park-like elements in the MCU, but they are just a small part of what makes the films themselves exciting. They are still entertaining stories with likable characters. That said, if Martin Scorsese watches “Fast X” and walks out thinking that it is less theme park-esque than anything in the MCU, then he may as well be entitled to his wrong opinion. I would rather watch “Iron Man 2.” I’d rather watch “Black Widow.” Dude, I would rather watch “Thor: The Dark World” instead of not just “Fast X,” but both of this franchise’s most recent outings! How bad do you have to be to compared to a franchise of 32 movies, and I would watch all of those instead of these last two duds?! This movie has thrills, but little character growth. This movie has style, but no substance. This movie has action, but no stakes. And what we get is one of the worst movies of the year, not to mention one of the worst cinematic efforts of the decade.

When I walked out of “F9,” I lost any excitement I had for “Fast X,” and the trailers lowered it even more. As for “Fast X,” I think the most positive thing I can say about this movie is that people got paid to make it. Just because you have all these big stars including Vin Diesel, Brie Larson, Charlize Theron, and Jason Momoa, does not mean the film can get away without delivering a good script to back them up. After the first act, everything in this film feels as haphazard as a carnival ride. Whereas MCU movies are debatably theme park rides instead of cinema, “Fast X” feels more like a carnival ride that was shipped in and set up at the last minute. It is wobbly, squeaky, and its roughness cannot match its acceptable appearance. The film looks okay. The cinematography is pedestrian, although the editing is a bit over the top. Maybe too much for its own good. There is no way I can convince myself that “Fast X” adds anything fresh or exciting to this franchise. Its old tricks, despite their remixes, are honestly tired at this point.

In fact, speaking of old tricks, if I have to be honest and state what I think could be the most enjoyable moments of the film, they may be the ones from the beginning. While that may seem vague, let me remind you that much of that is really just a flashback to “Fast Five.” Do not get me wrong, I like “Fast Five.” But after watching “Fast X,” I was not convinced that I should watch it again. Instead, I thought I would rather watch “Fast Five” again. While some may take this as a compliment regarding the franchise’s longevity, if the franchise wants to save itself in the future, it might as well craft something good to release in the present, and maybe not indulge a whole ton in its past.

Movie franchises are only as good as their last project. Granted, money also talks. “Fast & Furious” makes money. But sometimes the two go hand in hand. Look at “The Divergent Series.” The third movie comes out to less than stellar reviews, the box office is equally unsatisfying, and not only was it announced that the fourth film would go straight to television, the film never saw the light of day following said announcement. Or for a more recent example, Look at “Ant-Man and the Wasp: Quantumania.” The movie ended up receiving some of the worst verdicts in the MCU and ended up having significant drops during following weekends at the box office. Sure, the movie made quite a bit of money, but by current MCU standards and with the diminishing of the COVID-19 pandemic, it is below what it could have made.

Going back to “Fast Five,” this movie utilizes that predecessor to tell a story of its own. Because the villain, Dante, is the son of Hernan Reyes, the antagonist of “Fast Five.” If I have to give this movie one compliment, its villain is one of the more redeemable elements of the experience. I am not going to pretend that it saves the film from being a disaster, but Jason Momoa steals every scene he is in. Every one of his mannerisms reminded me of a more adult version of Jim Carrey’s Doctor Robotnik from the “Sonic” movies. In fact, I am not surprised Momoa pulls off his performance. Having seen one of his most recent projects, “Slumberland,” he has a bit of a fun side to him that I have not uncovered through his time as say “Aquaman.” Not to diss on his performance as Aquaman, but “Slumberland,” despite its flaws, showed perhaps a likably cartoony side to him. At times, this film feels like a cartoon that tries to ground itself too much. Jason Momoa feels like the one performer who showed up to do a different project than those around him. Everyone showed up to be an action star while he showed up to be a goofball with guns and an endless motive to kill. I do not recommend going to see “Fast X,” but if there is any reason I would argue you should, Jason Momoa is the first idea that comes to mind.

There is nothing wrong with a franchise evolving from its roots. But “Fast & Furious” shows what happens when evolution goes too far. Adding a little ridiculousness is fine. In fact, it is actually kind of cool. Although what does not work is seeing that ridiculousness turn into chaos. Sure, this movie harkens back to the street racing element that was utilized in prior installments. But it is overshadowed by the many negatives that result from the franchise’s evolution. I do not have as much emotional attachment for these characters as I once did, because I am convinced that they are going to make it out of any situation they find themselves in. They say the definition of insanity is doing the same thing multiple times and expecting different results. “Fast X” defies reality just as much, if not more, than “F9.” Therefore, this franchise fits the bill to where it could be called insane. It is just about as insane as I would be if I ever watch this movie again.

In the end, “Fast X” somehow managed to go below my already miniscule expectations. A bad “Fast & Furious” movie is one thing, but two in a row destroys my faith in the future of this franchise. I have a feeling this movie was designed with an ending to get me to ask “Where are they going with this?”. Only thing is I saw that ending and thought, there is almost no possible scenario where I tune into the next movie and it compels me from the first scene. I have seen some solid cliffhangers over the years in film. I have seen them in movies like “The Hobbit: The Desolation of Smaug,” “Back to the Future Part II,” “Inception,” and the “Incredibles” installments. These are endings that either give me solid questions, make me beg for solid answers, or sometimes both. For “Inception,” it leaves my mind to wonder what could be happening. These are solid endings that build extended promise. “Fast X” might be promising something, but I can only assume it will be empty. But before that ending happens, things are not too great either. Between all the nonsense, the boring characters, and lackluster dialogue, this is easily one of the worst movies of the year. I am going to give “Fast X” a 2/10.

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

Thanks for reading this review! Pretty soon I am going to have reviews for films like “The Blackening,” “Spider-Man: Across the Spider-Verse,” and “Hypnotic.” Stay tuned! If you want to see more from Scene Before, follow the blog either with email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Fast X?” What did you think about it? Or, what is the most abysmal, rotten, downright awful travesty of a blockbuster film you have seen in recent years? Let me know down below! Scene Before is your click to the flicks!

80 for Brady (2023): If I Wanted To Watch the Comeback of the Century, I Would Just Watch Super Bowl 51

Posted on by Jack Drees

“80 for Brady” is directed by Kyle Marvin (The Climb, All Wrong) and stars Lily Tomlin (Nashville, 9 to 5), Jane Fonda (Barbarella, Monster-in-Law), Rita Moreno (West Side Story, Oz), and Sally Field (The Amazing Spider-Man, Forrest Gump), with Tom Brady. This film is about four New England Patriots-obsessed women who will do anything to go to the Super Bowl and see their hero, Tom Brady.

This movie does not officially have its wide release until February 3rd. That said, a few theaters near me had early screenings of the film, so I decided to partake in one of them. I was not excited for “80 for Brady.” That said, this could have been a surprise. If “M3GAN” has shown anything, it is that not all movies that come out in the middle of winter are dead on arrival. I like the people in the movie such as Rita Moreno and Sally Field. These are all respectable actresses, but I felt like this movie was beneath their caliber. For instance, Moreno was literally in the 2021 remake of “West Side Story,” which was deservedly nominated for several Academy Awards. “80 for Brady” feels like a step down. Great performers, but as I looked ahead at what this movie could be, my nerves set in.

What did I think of “80 for Brady?” It is, in a word, fine. I am not planning on watching it again though.

Before I dive further into my thoughts on the movie, I want to paint a picture. I live in New England, specifically in Massachusetts. I am not into football, but I know people who are. In fact, one of the people I know who is extremely fanatical over football is my grandmother. She loves the Patriots, she loves Tom Brady, she will watch him now even though his playing for Tampa Bay. You know, until he pretends to retire again.

While I was not in love with the trailers for “80 for Brady,” one compliment I can give to this movie is that every time I looked at the four main women, I felt they were representative of my grandmother. In fact as I watched the movie, several moments reinforced this thought. Lily Tomlin’s character’s house is filled with Tom Brady and Patriots merchandise. When I go to my grandparents’ house, there are a couple rooms that have plenty of Pats novelties and such to go around. For several years, Tom Brady was practically my grandmother’s spirit animal. She has a Tom Brady Funko, a Tom Brady bobblehead, she’s got the whole nine yards. All of the main women have some glimmer of my grandmother’s personality wrapped into one quartet. And while I cannot recommend this movie to everyone, I think I would recommend it to my grandmother specifically.

And when it comes to the performances given by Tomlin, Fonda, Moreno, and Field, they do not reinvent the wheel. But they seem to understand the assignment. They have fun with the material given to them, and they bring a lot of energy to their characters. It is almost a bit cartoony, but I also cannot deny that this is the level of energy that a movie like this needed. The actors let themselves loose and that makes their characters rather charming.

“80 for Brady” is first and foremost, a comedy. As a comedy, it has its ups and downs. Most of the jokes are unmemorable, but there are quite a few that had me laughing. Though this movie also had me asking some questions in regard to how it handles logic. This film is based on people, not to mention events, that actually exist. If you watch this movie, you would notice that there are some unrealistic happenings. Some liberties are definitely taken. I will not give any spoilers, but there are multiple scenes where I gathered that what was happening was practically impossible. In fact, if you look up the true story that inspired this movie, you would find out that this is based on the friendship of five women, not four like this narrative presents. Frankly, I am glad it was not five. The movie is only an hour and thirty-eight minutes, but it packs a ton of material in such a short runtime that it felt overstuffed. “80 for Brady” has a semi-interesting journey of four main characters, but it also has a slew of supporting characters that barely added anything anything to the plot other than noise. Their additions to the story mainly came off as wasted time that kept the movie from being more tightly knit. Sure, there are subplots and other characters that help give the main quartet some background. But what does not help is that the background itself, with the exception of one thing that comes up, almost feels like filler.

My biggest problem with “80 for Brady” is that even in more tense moments, it feels like there are very little stakes. It does not help having a main event of the film be a recent Super Bowl that millions of people have already seen. But what I really mean is that even in its more tense moments, the movie does very little to make me think these women are not going to find some convenient way to move on from an obstacle in their path. There is one particular sequence that is so off the rails that I put my hand over my face before it even happened. Rest assured, when it happened, I cringed. Without giving much away, the sequence in particular involved dancing. Although in the case for “80 for Brady,” the crew behind it should sleep easy tonight knowing that the dance sequence in this film at least had more of a purpose than another sports-related movie to come out in recent years, specifically “Uncle Drew.”

When it comes to my overall enjoyment of “80 for Brady,” it is practically all over the map. I cannot say I hated myself after the movie, but even the moments when I thought the movie was hitting some positive marks, they could fired on a few more cylinders to have the entirety of my attention. The four women are great. There are a few celebrity cameos I enjoyed. But this movie is not enough to get me to run down the streets begging everyone I see to check it out. Some people in my circles probably will check it out regardless of what I think because a lot of my friends and family are from New England, but who knows? Maybe this review will be seen as a warning sign of what is to come.

In the end, “80 for Brady” is neither fumble or a touchdown. It is somewhere in between. I could tell that this movie was trying to get me to smile, but in reality, I might have left with what some might call resting Bill Belichick face. Not a smile, not a frown, just indifference. Is the movie better than I thought it would be? Sure, but that does not say much because my expectations were low to begin with. If you are a die hard Pats fan, you might appreciate some of the moments in this movie, but I think going back to watch some of the Super Bowls which they have played over the years might end up being more exciting than seeing this movie. You could make an argument that this is better than Super Bowl 53, which was an utter bore, but nevertheless. I am going to give “80 for Brady” a 5/10.

“80 for Brady” is currently doing early screenings and will be in theaters everywhere February 3rd. Tickets are now on sale.

Thanks for reading this review! If you liked this review, check out some of my other ones! If you want to see more of my comedy reviews, check out my thoughts on “The Unbearable Weight of Massive Talent.” If you want more of my thoughts on movies about football, I made a review back in 2020 where I share my thoughts on the 1983 film “All the Right Moves.” Want another vacation adventure movie? Why not check out my review for “Ticket to Paradise?” Something for everyone! Want to hear about a bunch of movies at once? Check out my picks for the top 10 BEST movies of 2022 and the top 10 WORST movies of 2022! 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 “80 for Brady?” What did you think about it? Or, do you watch American football? If so, what team do you root for? Let me know down below! Scene Before is your click to the flicks!

West Side Story (2021): Steven Spielberg Reinvents the Musical Genre Through This Compelling Adaptation

Posted on by Jack Drees

Hey everyone, Jack Drees here! Welcome to the final installment of Steven Spielberg Month! You know what that means? It is time for shameless self-promotion! If you are interested in checking out more of my Steven Spielberg-related reviews for the month, this is your opportunity to read up on my thoughts regarding “Close Encounters of the Third Kind,” “E.T. the Extra-Terrestrial,” and “The Post.” With that out of the way, it is time to introduce the last review of the themed event. It is one of Spielberg’s most recent outings, “West Side Story.” I would have reviewed this film last year if I had the time to. Unfortunately, I could not make it happen. Although I am glad to finally be able to give myself an opportunity to release my thoughts on it, and for you to finally find them out. Ladies and gentlemen, here is my review of “West Side Story.”

“West Side Story” is directed by Steven Spielberg (Lincoln, Ready Player One) and is based on a 1957 play by Jerome Robbins. The film stars Ansel Elgort, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, and Rachel Zegler as Maria, a young Puerto Rican girl who falls in love with New York native Tony (Elgort). These two are caught in the middle of rivaling gangs, conflicting sides, and altering identities. While these two may be star-crossed, the turmoil beyond their relationship heats up.

I saw this movie on December 6th, 2021 during a free IMAX fan event screening in Boston. The screening took place days before the film’s wide release. This was my first time seeing anything related to “West Side Story.” Prior to rewatching this film for review purposes, not to mention after, I still have not watched the 1961 “West Side Story” adaptation, despite its acclaim. The film won ten Oscars, including Best Picture. In recent months, Steven Spielberg’s “West Side Story” sort of followed in its footsteps. The 2021 remake won an Oscar for Best Supporting Actress in addition to earning other categorical nominations. One such nomination was Best Picture, which the film lost to “CODA,” which I have no problem with as that film was brilliant.

Having rewatched “West Side Story,” it honestly was more fun than it was the first time around. And that says something because that first viewing was a great time. Did I mention that my most recent watch of the film is not my second, but my third time? I went to go see the film in theaters twice, and both times it knocked my socks off. Therefore, it should be no surprise that I am handing the film this much praise.

I am so glad to finally get to talk about “West Side Story” after being busy during the tail end of 2021, partially because it is my favorite musical movie of that year. I had fun with “In the Heights” and I admired “Tick, Tick… BOOM!”, but “West Side Story” takes the cake as the most serotonin-emitting of these films. When I first heard about a remake for “West Side Story,” I had mixed thoughts, and slight indifference as I had not seen the original film. When you announce that you are about to remake something iconic or highly acclaimed as this, it begs the question as to how you can make something that is on par with what the prior material provided. Again, I did not see the 1961 movie, so I cannot compare and contrast these two films together. Although as a standalone movie, “West Side Story” 2021 is one of the most finely crafted creations of the decade thus far. The decade has only started, but if things continue to go in a certain direction, “West Side Story” could end up in my top 50, maybe even top 25 films of the 2020s by the time the ten year span ends.

The cast of “West Side Story” could not be better. Every actor is perfectly placed in their role, they feel at home, and they play their part to the best of their ability. Rachel Zegler is a goldmine of adorableness as Maria. Not only is Zegler a ridiculously talented singer, which is an ability that is somewhat expected in a film like this, but she is also unspeakably beautiful. Every time I glance at Zegler in this movie, I can sense that not only is Zegler happy to be in the movie, I can sense her character is always in the moment. Even during an occasional sense of hardship, every time I look at Rachel, I am, assumingly, as happy as her. She is always either upbeat or expressive, which for a musical, is an appropriate set of emotions. Part of the recently mentioned adorableness not only has to do with Rachel Zegler herself, her character, or her acting ability, but also the costume design.

The costumes in this film are designed by Paul Tazewell, who also designed costumes for the musical “Hamilton.” Tazewell’s designs feel straight out of the 1950s. To go along with the extravagant, larger than life feel of a story like this, some of the costumes feel attractively glitzy. Again, Zegler’s costumes, such as her white dress from the first act, are standouts. All the costumes from the dance in the gym are easy on the eyes. Another one of my favorites is Anita’s yellow outfit that she wears during the “America” scene. It goes well with the atmosphere and the time of day. Everything feels intricately planned.

Speaking of Ariana DeBose, she and Zegler pretty much tie for the greatest performance in the film. DeBose won a Best Supporting Actress Oscar for her performance as Anita, which is undoubtedly deserved. Everything from her physicality to her line delivery to her overall charisma makes for one of the best performances I have ever seen in musical film. The past couple times I watched “West Side Story,” every line out of DeBose’s mouth, even minor ones, made me smile. There is a saying about movies providing escapes for audiences. Anita in “West Side Story” is synonymous with such a philosophy. Every time she spoke, I instantly transported to another world. I am going to continuously debate as to whether Zegler or DeBose gave my favorite performance in the film, but as far as non-lead roles go, DeBose may have given the greatest of them all in 2021.

Despite having story in its name, the story of “West Side Story” is not the most original when you break it down. Not just because it is remaking a 1961 movie based on a 1957 play. If anything it is a spin on the “Romeo and Juliet” formula with different characters and dance fighting. If anything, this latest iteration of the musical is a fantastic spin, and even saying that is arguably an understatement. As I have said before, you can always supply a cliché story, or a story that has been done in the past. What matters is the execution. If you deliver something great with familiar elements, then job well done. This is exactly what Steven Spielberg did, I was on the edge of my seat during scenes that could have potentially come off as goofy. Dance fighting is a concept that to my surprise, successfully highlighted much of the tension between characters. Not only that, but the music used as a backdrop sounded great. It kept my attention.

This movie is shot by Janusz Kaminski, a brilliant cinematographer who has worked with Spielberg for years. The wides in this film are beautiful. The opening sequence is one of the most intriguing of the year based on the camera movements alone. The scope of the film would not be as massive if it were not for some of Kaminski’s long takes. One of my favorite shots of the film is when we get into the gymnasium and see everyone dancing. The camera swoops around the entire place non-stop until we arrive on our core characters like Anita, Bernardo, and Rachel. Looking back on it and what that one moment was able to capture, is jaw-dropping to say the least. Also, if you ever watch the scene, note the use of color. There is a sense of consistency between the colors of various outfits throughout the shot. It almost comes off like a painting. Again, credit goes to Paul Tazewell for how well he handled the film’s costume design.

Musicals, including this one, often thrive based on the spectacle. “West Side Story” has a ton of poppy moments where the cinematography and musical numbers keep my eyes on the screen. That is despite there being a sense of danger throughout the movie. “West Side Story,” at its core, centers around two star-crossed lovers. Although this film effectively encapsulates how their connection affects the people around them. The rivalry between the Jets and Sharks was already heading for trouble, but as soon as we see Rachel and Tony together for the first time, we also begin to see how various supporting characters handle this matter. Even though it should barely affect them on paper, it ends up resulting in increased calamity. As for said calamity, it made for a great movie.

If you ask me, based on everything I presented so far from the costumes to the shot selection to the editing to the acting, this is a sign that Steven Spielberg has brought together one of the greatest directorial efforts of his career. Or, as some might call it, just another Tuesday. “West Side Story” is apparently a part of Spielberg’s childhood, and it shows. The numbers are handled with grace, the characters are well realized, and the aesthetic of the film has a perfect blend between lighter and darker moments in addition to tones. There is no surprise that a sense of passion was present in every scene.

Aside from the cliché elements and familiar story treads, there are not many noticeable flaws with “West Side Story.” This might not be my favorite Steven Spielberg movie, but I cannot help but recognize how massively bonkers and fun this movie is. At the same time, it also successfully hits emotional beats. Performances from Rachel Zegler and Ariana DeBose highlight this. One of my favorite elements of the film, as someone who watched it perhaps the way Spielberg intended, is that when the characters speak in Spanish, they do not provide subtitles to aid in regard to what they are saying. I have taken a screenwriting class in college, and one thing my professor noted is that dialogue does not always matter. Sure, movies can have great lines that enhance the experience. Whether they are funny, dramatic, or emotionally charging. Although what makes “West Side Story” great is its tendency to use Spanish, a language which I do not understand, without subtitles, and nevertheless compel me into the scenes in which such a language is spoken. Given select moments and the supposed attitudes of various audiences, this sounds like a big risk. As someone who dropped out of Spanish class in high school for Sociology, I have been moved by this choice and its execution.

Big risk, big reward.

One might as well make the conclusion that this is what the whole movie sounded like from the beginning. A big risk. Sure, when you have Steven Spielberg in the chair, he makes everything look easy. Sure, name recognition is definitely a selling point in modern media. The film did not do well at the box office for various reasons. COVID-19, competition with other movies, and controversy with Ansel Elgort are contributing factors. However, this film is now available to watch at home and if you ask me what movie in the musical genre you should watch nowadays, this is one of the first I can think at the top of my head. It is that good. I do not know if Spielberg will make another musical, but if he does, I wonder how the heck he could top this one.

In the end, “West Side Story” is one of the best musical films of this century. Why should I be surprised that this movie is as solid as it is? Steven Spielberg is at the helm. Then again, maybe I should be surprised. After his many previous monumental successes, Spielberg has yet to create a film in the musical genre. He has done a variety of genres prior to “West Side Story” like science fiction (Close Encounters of the Third Kind), period pieces (Lincoln), adventure (Raiders of the Lost Ark), war (Saving Private Ryan), drama (The Post), and you could even argue that “Jaws” would be considered a horror film. By today’s standards, it is not the most terrifying option on the table, but it has its eerie moments. The man has done everything, and yet he continues to pump out gold. For some filmmakers, this would be an achievement. But I cannot call it that for Spielberg after watching “West Side Story.” As far as Spielberg is concerned, his efforts have amounted to another day at the office. That is how effective of a filmmaker he continues to be. Spielberg could have ended his career at say “Jurassic Park” and have an endlessly celebrated library of films. But that is not the case. His adaptations of songs like “Somewhere,” “Cool,” and “America” have stayed in my memory for a long time, and will likely continue to do so. The look of the film is stunning, the shots are beautiful, and the cast is incredible. Again, I have yet to see the 1961 film, so I cannot confirm if this is better or worse, but I can hardly think of a single problem I have with Steven Spielberg’s “West Side Story.” So much so, that the film is worthy of a 10/10.

Musicals are not my genre, but this is a film that I liked the first time, adored the second time, and found myself eating up by the third time. I am floored by this film’s craft and how extravagantly immersive it is, even when watching it at home. I feel bad for skipping this review last year, but I am more than happy to have gotten my thoughts out by now. Although some of you reading this might not be that surprised that I liked the movie so much, because I ended up nominating it in a few categories during the 4th Annual Jackoff Awards. If you want to see what the film did or did not win, check out the post!

“West Side Story” is now available on DVD, Blu-ray, and 4K Blu-ray. The film is also available to rent or buy on VOD. For those who have the services, it is also available to watch on Disney+ and HBO Max.

Thanks for reading this review! This is officially the end of Steven Spielberg Month! But this November, we will be seeing the latest addition to Spielberg’s neverending library. That my friends, is “The Fabelmans.” The film is loosely based on Spielberg’s childhood, and the trailer looks phenomenal. Between this and Damien Chazelle’s “Babylon,” this awards season is likely going to have lots of talk about Hollywood’s self-indulgence. Whether such self-indulgence will be successfully utilized, is a question waiting to be answered.

Also, my next review is going to be for the all DC film “Black Adam.” Be sure to stay tuned for the nine-millionth superhero movie I will be reviewing in my blogging journey. 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 “West Side Story?” What did you think about it? Or, did you see the 1961 “West Side Story?” What did you think of that? How would you compare the two movies? Let me know down below! Scene Before is your click to the flicks!