Romance

Young Woman and the Sea (2024): Daisy Ridley Swimmingly Stands Out in the Latest Live-Action Effort from Walt Disney Pictures

Posted on by Jack Drees

“Young Woman and the Sea” is directed by Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales, Maleficent: Mistress of Evil) and stars Daisy Ridley (Star Wars: The Force Awakens, Chaos Walking), Tilda Cobham-Hervey (Hotel Mumbai, The Lost Flowers of Alice Hart), Stephen Graham (Pirates of the Caribbean: On Stranger Tides, Kim Bodnia (Killing Eve, The Witcher), Christopher Eccleston (Thor: The Dark World, True Detective), and Glenn Fleshler (Boardwalk Empire, Billions). This film is inspired by the book of the same name and is about the competitive swimmer Trudy Ederle, who makes a daring attempt to swim across the English Channel.

One of the benefits of being in a “Star Wars” movie is having such a massive franchise be part of your resume. But regarding the more recent films, particularly the prequel trilogy and the sequel trilogy, it feels interesting to note that a few of its leads are, unsurprisingly, mostly known for their “Star Wars” roles, but not really making rounds since. Sure, Hayden Christensen did “Jumper.” But who religiously and fondly remembers that movie? What else has he really done since “Revenge of the Sith” that has stood out? As for Daisy Ridley, who I adore as Rey in the “Star Wars” franchise, I hope she can find some enormous success outside of the “Star Wars” franchise that way she does not remain a one hit wonder of sorts. I liked her in “Chaos Walking,” but I recognize that movie is not perfect, even though I did have fun with it. That, and COVID-19 definitely affected its box office performance. Yes, I am aware Ridley did other things too. “Murder on the Orient Express,” the “Peter Rabbit” movies, “The Marsh King’s Daughter…” But I have not seen any of those.

While I cannot legitimately recommend any of those movies, I can say Daisy Ridley’s latest film, “Young Woman and the Sea” is definitely worth the watch. Not only is it a solid story, but one thing that favors the film is the timing of which it released. After all, it is summer. Therefore, it is basically swim season. The Olympics are around the corner. It is the perfect time to get in the water. Maybe you will not want to venture the same waters as this movie’s lead, but still.

But even if you do not want to venture those same waters, you may feel inspired to do other great things. I am a straight white male, so I cannot speak for everyone, but I have a feeling that a lot of people who check out this movie are going to feel empowered, they’re going to feel inspired. Everyone loves a good story of this nature, and it is perhaps a bonus if the lead is a woman like it is here.

While this movie is about Trudy Ederle, I thought it also did a good job with its supporting characters. I really enjoyed the scenes early on in the film where we see Trudy learning to swim and getting to know the others inside the building, in addition to one tradition they share. In addition to Trudy’s journey as she navigates the English Channel, I was simultaneously engaged with what was going on back at home. We see the family’s perspective, how nervous they are, and I think plenty of people can relate to those events playing out. It is natural for a parent to worry about their kid in a multitude of scenarios. Heck, my mom constantly worries about me getting to work on time. Granted I have to be there at 2 a.m…. But still. A good movie can make you care for its lead and their progression throughout the runtime, but that good movie could potentially be better, like this one, if you somehow also care about those who tend to express their worries about the lead.

One of the unsung standouts of “Young Woman and the Sea,” and I perhaps mean that literally, is the music. This film’s score is done by Amelia Warner, whose work I have not heard previously, but the orchestral power of this film leaves me curious as to what she has up her sleeve next. Each instance of the music adds to the tension, adventure, and sometimes joy of each scene. It is easily one of my favorite musical compilations this year. “IF” still remains my favorite score perhaps, but this trails only slightly behind.

Production value-wise, this film is as inviting as can be. The shots look beautiful. Every time I look at the water in this movie, it makes me want to go by the sea. It truly strikes a proper mood. It was also soothing to see the film’s various environments accompanied with a 1920s vibe. The film is chock-full of impeccably designed interiors. Probably some of my favorite I have seen this year. “Young Woman and the Sea” is quite a picturesque movie that is easy on the eyes. A lot of the frames that pass by as I am watching our hero navigate the English Channel are enchanting to gaze upon.

If I had any real critiques that come to mind regarding “Young Woman and the Sea” it would probably be that the film seems a little played up for what it is trying to be. Granted it is nowhere near as played up as the last movie I reviewed, “Summer Camp,” but it is sometimes over the top. The performances in the film are all over the place. It is not to say they are bad, but they seem to clash with each other tonally sometimes, as if they belong in a couple different movies. The actors all do a good job, even if their collective performances are not quite a perfect match. This film is a term I do not use often, but it feels appropriate to use here. If there were a word to describe this film at times, it would be “Hollywoodized.” This is a story that on paper, would make a good movie. A woman taking on a dangerous mission of swimming across a body of water makes for a great story, especially considering this one is true. But some of it is perhaps pushing the boundaries of reality. It sometimes feels familiar in terms of its story and its beats. This film is released under the Disney banner, and even though the two movies are not quite the same, “Young Woman and the Sea” reminded me of another Disney live-action effort, “The Finest Hours,” another story highlighting a dangerous time in the water. That film also felt played up and perhaps overly glamourous. I think “Young Woman and the Sea” is much more engaging, but both movies share similar flaws. They are presented as these glorious tales, and to some degree, they can be defined as such. But the movies tend to push the limits in terms of how glorious they actually are.

In the end, the real question is, should you watch this movie? Absolutely. Give “Young Woman and the Sea” a shot if you have the time. It is played up and sometimes cliche, but it is nevertheless charming and inspiring. I liked all the characters in this movie. The chemistry we see between Trudy and her sister, who is wonderfully played by Tilda Cobham-Hervey, is quite good. Performance-wise, despite being a bit on the hyper side, I admired Sian Clifford as Charlotte, Trudy’s swimming trainer. Every time she is on screen she has a commanding presence. If there is any performance I remembered the most from the movie, aside from Daisy Ridley’s, it is hers. “Young Woman and the Sea” is probably not going to be on my top 10 of the year, but it is a movie that I am glad I saw. It is an effective, inspirational story of determination, feminism, and going for the impossible. I am going to give “Young Woman and the Sea” 7 seas out of–

Wait, that doesn’t sound right… I’m going to give the movie a 7/10. There, that’s better.

“Young Woman and the Sea” is unfortunately not playing in many places right now, and as of writing this, the film is not currently available to watch at home. But if it is somehow playing near you by some miracle, check the movie out if you can.

Thanks for reading this review! My next review is going to be for “Inside Out 2,” one of the biggest films of the year so far. I cannot wait to finally talk about this one. Also coming soon, I will have reviews for “Furiosa: A Mad Max Saga,” “Thelma,” “Daddio,” “A Quiet Place: Day One,” and “Maxxxine.” 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 “Young Woman and the Sea?” What did you think about it? Or, do you enjoy swimming? Tell me where your favorite place to swim happens to be! Let me know down below! Scene Before is your click to the flicks!

Challengers (2024): Luca Guadagnino Serves Up a Painfully Average Tennis Flick

Posted on by Jack Drees

“Challengers” is directed by Luca Guadagnino (Call Me by Your Name, Bones and All) and stars Zendaya (Spider-Man: No Way Home, Euphoria), Josh O’Connor (The Crown, Hope Gap), and Mike Faist (West Side Story, Panic) in a story revolving around a tennis prodigy named Tashi Duncan and two ex-best friends named Patrick (O’Connor) and Art (Faist), both of whom expressed sexual interest in her. Years after they have met, Tashi is now married to Art, who must compete in an ATP Challenger tennis match against Patrick, a much less prominent figure in the sport.

There are no two words in marketing more accurate than “sex sells.” Let’s be real though. Much of “Challengers” revolves around tennis. I like tennis. I’ve played tennis. I watch tennis occasionally when it is on television. But I am willing to bet some of you reading this right now have probably seen this movie. And for all I know, maybe you like tennis too. But you probably went to this movie for another reason.

Admit it…

And if you did, I would not blame you. Sex sells. I have seen ads on TV promoting the film and they ended up using a review, which I unfortunately cannot find at the moment, but I swear this is true… The spot said the movie was so sexy it might just get you pregnant. Now THAT is the endorsement of the bloody century. Imagine one day you have a kid and they’re gonna ask you and your spouse, “Where do babies come from?” Your answer, “Challengers.”

This movie was a marketer’s dream. It had everything to sell a moviegoer. You have an experienced, Oscar-nominated filmmaker, specifically Luca Guadagnino, helming this picture. In the forefront, you have a star actor in Zendaya, who is hot right now off of “Dune Part Two.” On top of that, you’ve got romance, drama, and of course, sexuality. Let’s not forget about that. As a movie critic, I wanted to of course know how the movie is. But of course, a lot of the positive marks of the movie from other people tie directly to, perhaps unsurprisingly, its sex appeal. So I feel obligated to talk about that.

I am going to issue a hot take… This movie is not sexy. Maybe from a screenwriting perspective, there are layers where you could make something seductive or hot, but for my money, I do not see the appeal. If anything, the movie almost gets to that point in one scene or another, but cannot quite go all the way.

When it comes to judging “Challengers,” it is hard to say that my tastes align with the crowd. I honestly did not enjoy this movie. And much like the sexuality factor, there are elements of the movie itself that work for me. This movie is one of those stories that contains its ups and downs.

The biggest positive for me when it comes to “Challengers” is perhaps the most important aspect of the film, at least on screen, and that is the chemistry between the three leads. Zendaya, Josh O’Connor, and Mike Faist are all top tier in this film and I honestly would not mind them reuniting for another project if the opportunity were to strike. “Challengers” is at its best when these three are on screen at the same time. The scenes where all three of these characters are at their youngest and just getting to know each other make for some of the most genuine, human connections I have seen in recent film.

When it comes to the overall vibe of her performance, Zendaya rides a fine line between glamour and girl next door. While I have missed out on some of her career highlights including “Euphoria” and “The Greatest Showman,” based on what I have seen from her, Zendaya is a performer who frankly gets better with each role she takes on and “Challengers” could arguably be her best performance yet. The job of an actor is to make you believe that they could be someone they are not. In addition to Zendaya transforming into a tennis pro, she also plays the character through multiple ages. Granted, the timeline does not spread significantly far, it’s not like it’s twenty, thirty years, but I think Zendaya did a good job at encapsulating the character through multiple points of her life. I knew Zendaya was skilled, but I did not think she had that kind of talent in her. I am pleased to see her kill it in this role.

That said, I have to be real. I like the way the actors handle the material given to them. Although it does not mean that I enjoyed the material itself. If anything, the film is boring, and almost headache-inducing. I saw “Challengers” was playing in IMAX. In fact, I almost went to see it in IMAX. While it would have been cool to see the tennis scenes, including the thrilling moment where the camera is shown from the ball’s perspective in IMAX, I am glad I ended up seeing this in a standard theater because some of the music choices in “Challengers” got on my nerves. When it comes to music in film, it is rare for me to say that a song choice or a moment in the score feels out of place or broken. The film is chock full of electronic dance music, and it is honestly some of the most unbearable noise yours truly ever had the displeasure of witnessing in a movie theater. Especially considering how cranked up it sounds. It is honestly worse than some of the music in “Civil War,” and I thought that would be the low point in cinema this year from a musical perspective. Maybe my tastes do not align with the crowd or I need to go outside more and get some fresh air. Perhaps I am yelling at a cloud, but when that music blares, it reminds me of when people, sometimes justifiably, complain about the sound mixing in Christopher Nolan movies like “Dunkirk” and “Tenet.” I should note, I have sensitive ears, which I think is hilarious considering how often I go to the movies… Therefore, certain sounds are likely to irritate me more than other people. Maybe the music will work for you. But for me, “Challengers” is probably the worst film soundtrack I have heard in a long time.

I will not deny that there are things to like about “Challengers.” I have already gone on long enough about how much I enjoyed the performances. Technically, this movie gets creative with its cinematography. While I was not fully invested in the film, I will admit the last few seconds put a smile on my face to some degree. But there are so many detractors that keep this from being good in my book. A series of scenes that fail to keep me entertained. My inability to attach myself to the characters 100 percent of the time. Ungodly amounts of slow motion that honestly did not need to be there. And despite this movie boasting about how steamy it is in the marketing, I am honestly not buying what they are selling. If you were turned on by “Challengers,” you do you. But as I said before, I do not see the appeal.

In the end, “Challengers” was challenging to watch at times. Honestly, if you want a better tennis movie, also starring someone who played Spider-Man’s love interest, just go watch “Battle of the Sexes.” It’s a good story, it’s entertaining, and Emma Stone along with Steve Carell make for a solid leading duo. I remember “Challengers” was supposed to come out at the tail end of 2023, making it potentially a fierce competitor during the previous award season. Unfortunately, it was delayed due to the industry-related strikes. I was looking forward to “Challengers,” but this movie was not worth the wait. There are some notable positives regarding “Challengers,” but the negatives stick out like a sore thumb to me. If somebody ever brings up “Challengers” in a conversation, I am going to think of it as “the tennis movie with terrible music” as opposed to “the tennis movie where it has a really cool shot where you get to be the ball for a short period of time.” It is not a reality I am proud to be a part of, but in my reviews, it is better to be brutally honest than to make up a positive on the spot that does not feel genuine. I am going to give “Challengers” a 4/10.

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

Thanks for reading this review! My next review is going to be for “The Fall Guy.” I had a great time with the film and I cannot wait to share my thoughts with you guys! Also coming soon, I have reviews on the way for “Tarot,” “IF,” “The Garfield Movie,” and “I Saw the TV Glow.” 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 “Challengers?” What did you think about it? Or, what is your favorite tennis movie? Let me know down below! Scene Before is your click to the flicks!

High Tide (2024): A Refreshingly Lovely Trip to Provincetown

Posted on by Jack Drees

Before we begin this review, you may notice that compared to some of my other reviews, this one is not exactly as visually heavy or varied as some of my others. That is because this film is technically not out yet. I got to see it at South by Southwest this year, at which point there were no trailers or marketing for the film. That is still the case now. So if this post looks jarring, that is because I am working with what’s available. With that said, enjoy the review.

“High Tide” is written and directed by Marco Calvani (A Better Half, The View from Up Here) and stars Marco Pigossi as Lourenço. In this slice of life drama, a queer undocumented Brazilian immigrant living in Provincetown, Massachusetts questions his purpose.

I am a proud Bay Stater. I was born in Melrose, Massachusetts, grew up one town north in Wakefield, went to college in Newton, and currently work in Boston. I also enjoy the occasional trip to Dunkin’, a good ballgame at Fenway, and a fine round of candlepin bowling. Despite living in the Bay State all these years, I have probably been to Cape Cod maybe six times in my life. The last time being 2015. While that may be more than some people, this is something I consider to be a weak spot of mine as a New Englander given how big of a destination it is to some people around here. Safe to say, I have never visited Provincetown. This brings up my first, and perhaps biggest positive of “High Tide,” this movie practically took me on a vacation.

The overall look of “High Tide” is stunning. There is almost no other way to put it. Obviously, Provincetown is a beachy area at the tip of Massachusetts, so there is no doubt it is going to look nice. Getting pristine shots of a town by the water can sometimes be a layup, but everything in the frame felt completely atmospheric. From the opening shot of the film, I thought I was in the middle of the ocean. It practically commands your attention and begs you not to look away. At times I felt like I was on the beach. I was in the middle of town. I was feeling a calm breeze. Each location delivered a great mix of immersion and beauty. If I had to point out one thing though, sometimes the imagery looked a little darker than I anticipated. I watched the film in a theater I have never been to before so for all I know it could have been the quality of the projector. But it does not change the fact that what was on screen enchanted yours truly from start to finish.

Genre-wise, “High Tide” is best described as a romantic drama. It is wholeheartedly serious from start to finish, but there is an endless pinch of innocence in its storytelling. Even when dealing with heavier issues, there is always a sense of lightheartedness in the background. Never once does the film sway too far in one direction or the other, nor do the tones clash to the point where everything feels overdone. And it feels weird to say that the movie feels lighthearted, but it does. Because the reality of the film is that it centers around a man who is dealing with extravagant issues. Many great protagonists have their obstacles, and Lourenço is no exception. His visa is about to expire. He has a distant lover. But even when these issues are brought into the fray, the film delivers a calming vibe that fails to escape my mind. In fact, if I had a critique to name, if you can call it one, I would almost argue the film is almost too light given what it deals with sometimes. But a positive experience is a positive experience. I like to feel good. Who doesn’t? I am not complaining all that much.

But perhaps one of the big reasons why my mind is in a state of calm within a sea of troubles, kind of like our protagonist at times, is the romance he has with a character by the name of Maurice, played by James Bland. This is my first James Bland anything. Movie, TV show, you name it. I hope to see him in more material soon because he knocks his performance out of the park. I doubt Bland is going to win any Oscars, but there is a subtlety to his presence, his actions. There is something about his time on screen that emits perfection.

The reality is, when it comes to movies heavily revolving around romance, if the chemistry does not click between the two leads, then it is difficult for me to buy into their relationship. Maybe even root for them. Shoutout to “Anyone But You” for breaking my brain several months ago. Although in terms of chemistry, this movie hit the jackpot. There is a simple moment with these two in a bedroom right next to each other that brought forth such a charming vibe out of both of these characters. Marco Pigossi and James Bland work individually, but when put together, they bring out the best in each other. Of course, these are also two physically attractive men, so I am sure that helped certain scenes to some degree.

However, I wonder how well this film will actually do by the time it comes out. The film is very well done. It is a stellar feature debut from Marco Calvani. In fact, the only actor I could tell you I knew who they were before going to see this movie was Marisa Tomei, who also serves as an executive producer. By the way, she does a good job in this film. The reality is there are not many recognizable names. The names do not need to be big for me to get in the door, but I understand this reality is not the same for everyone. So it is my duty as someone who saw this film to tell you that it is worth watching when it comes out. It is a film that based on my experience, definitely handles serious topics, but it did so in such a way that failed to make me feel overly awful or icky. Even when things where tough in the forefront, there is a sense of joy in the background. As a slice of life picture, “High Tide” is completely watchable and worth your time.

As I said in the start of this review, one of “High Tide’s” strengths is its ability to take me somewhere beautiful. In this case, Provincetown. But when you consider the phenomenal chemistry between the two leads, the overall vibe of the picture, and how our characters handle their situations, sometimes it goes to show that it is not about the destination, it is the journey. And as far as the journey goes, the movie certainly delivers a fine one.

In the end, “High Tide” is probably not going to be the movie I will hail as this year’s top dog, but it is one that I am glad I went out of my way to see at South by Southwest this year. It deals with several tones in such a way where nothing feels tangled or overwhelming. The cinematography is immaculate. The story and characters are a delight. I have no idea when this movie is going to have a wide release, but whenever it comes out, I recommend giving it a watch. I am going to give “High Tide” a 7/10.

“High Tide” premiered at South by Southwest this past March. No official future release date or schedule has been given.

Thanks for reading this review! My next review is going to be for “Kung Fu Panda 4.” I love the “Kung Fu Panda” franchise. The first two movies are honestly some of the best creations to have ever been put out by DreamWorks Animation. I watched the first one incessantly as a child. I think the second film could possibly be better. I think of the first three movies, the trilogy capper is easily the weakest. So how will this fourth installment fare? We shall see. 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 “High Tide?” What did you think about it? Or, did you go to South by Southwest this year? Tell me about your experience! Let me know down below! Scene Before is your click to the flicks!

Lisa Frankenstein (2024): Kathryn Newton Shines in a Forgettable John Hughes-Esque Coming of Age Story with an Edge

Posted on by Jack Drees

“Lisa Frankenstein” is directed by Zelda Williams and this is her feature-length debut. The film stars Kathryn Newton (Ant-Man and the Wasp: Quantumania, Blockers), Cole Sprouse (Five Feet Apart, Riverdale), Liza Soberano (Trese, Make It with You), Henry Eikenberry (Euphoria, The Crowded Room), Joe Chrest (Stranger Things, 21 Jump Street), and Carla Gugino (Night at the Museum, Spy Kids). This film is a coming of age story showing the love connection between a young girl and a corpse who returns from the dead.

When it comes to the February 2024 cinematic lineup, “Lisa Frankenstein” is one of those films that had my attention from the moment I heard about it. While it did not look like the next big thing, the marketing showcased plenty to savor. For starters, the idea is kind of clever. I like the concept on the surface. The vibe the film seems to be going for definitely screamed kooky, but with a pinch of romance. This film was set to release the week before Valentine’s day making it an appropriate watch for such a time.

You also have a writer like Diablo Cody behind the scenes, who has not only written films I have enjoyed in the past like “Tully” and “Juno,” but she also has horror experience with “Jennifer’s Body.” I have only seen a bit of the film, but I didn’t dislike what I saw. I think it would be unfair of me to give a score on “Jennifer’s Body” without having seen the whole thing. That said, I recognize it is not Shakespeare.

This film is also the directorial debut of Zelda Williams, a name that I knew for years thanks to the Internet. But for those who do not know who Zelda Williams is, she is Robin Williams’s daughter. Yes, that one. I am not always the biggest supporter of nepotism, and I say that knowing that the film industry is sometimes notorious for it. But I was curious to see if Williams had a knack for this kind of work. While doing research for this review, I found out Williams has a history of making music videos, so she is not new to this industry. And having seen “Lisa Frankenstein,” that makes complete sense. Everything in this film is nicely framed and looks like something from another world. The lighting throughout the film comes in quite a variety. It’s also easy on the eyes. The color grading has this weird pixelated-like gloss to it that I found rather appealing. When it comes to this film’s aesthetic, it is a job well done. At times it felt intimate. At others it felt roomy. At others it feels downright fantastical. I am not sure if this is a proper tech demo movie for say a big screen TV, but maybe it will be serviceable for a 32 inch model.

Unfortunately though, the movie is almost all looks, with little personality. The script has a couple decent lines, but the vibe delivered between said lines feels inconsistent. I understand that this is a movie that blends the reality of the 1980s with the fantasy of a man coming back to life. But it is not enough to make a decent package. If anything, this film feels more like a mish mash than a proper horror comedy at times. It doesn’t really know what it wants to be. Now I say that knowing that we have gotten a decent number of movies over the years that combine genres. “Everything Everywhere All at Once” is a proper example. But I also recognize that I would probably not have this complaint if there were anything that would make those genre increments stand out. Sure, this movie has a bit of a throwback feel to 1980s John Hughes coming of age movies like “Weird Science” or “Pretty in Pink,” but it is not as good as those. If I watch “Lisa Frankenstein” again, there is less of a chance that I would finish the film and say “That was fun, another round,” compared to me going “You know what’s a good watch right now? A John Hughes movie.”

Kathryn Newton does an excellent job playing a somewhat twisted, but also kind of innocent lead role. There are a lot of layers to unpack with this character as the movie goes along and while I am not sure what roles Newton will take following this picture, this film goes to showcase her range. She can be dark, she can be down to earth, she can be otherworldly. She can do it all. Going back to the film’s aesthetic, Newton’s hair and makeup are on point. I have no idea if “Lisa Frankenstein” is even going to be considered for any makeup awards during next year’s awards season, it is still too early to tell, but I would say in regards to 2024 cinema, “Lisa Frankenstein” is this year’s first notable contender in that category.

The rest of the cast all do a decent job with their roles. Cole Sprouse proves silence is golden with his portrayal of The Creature. Liza Soberano gives a fine showcase of her talent as Taffy. But aside from Newton’s layered protagonist, I think the character that stood out to me the most in the movie is Carla Gugino as Lisa’s stepmother, Janet.

For some young people, it is hard enough to adapt to a new parent or guardian. “Lisa Frankenstein” presents a reality for our protagonist that makes it come off as near impossible for her to adapt to her stepmother. The movie presents a rivalry between these two that is probably more riveting than it needs to be. And a lot of it is in the performances between these two. Of course, the shenanigans our protagonist gets into plays a significant role as well, but nevertheless.

Once again, this film is directed by Zelda Williams, and despite my negative comments for this film, I am not going to tell her to give up on filmmaking. I think she does a fine job with this movie in terms of bringing various sets and talent to life. Some frames from this picture still linger in my mind because of how stylish they come off. But when it comes to characterization and writing, that is where the movie needs work. It has a great concept but it just doesn’t stick the landing. But I also cannot entirely blame her, because she did not write the film. That job belongs to Diablo Cody, who I like as a writer, but this is not her best work.

In the end, “Lisa Frankenstein” has good intentions, but comes off with lackluster execution. Despite some inklings of quality, I will not deny that this movie could have been better. As a horror movie, it is not that eerie or terrifying. As a comedy, it does not have many laughs. When you take these ideas together, the movie kind of falters in both genres. There are good things about it, yes, but those good things do not justify a rewatch. Those good things barely stand out. That is if they do at all. Kathryn Newton’s great. Sure. Carlo Gugino is terrific. Sure. The design across the board almost couldn’t be better. Double sure. But I also think that if you are at the movies right now, there are better options for your choosing. “Lisa Frankenstein” is not offensively bad. But it could be better. How better? Well, judging by my score I think “Lisa Frankenstein” could be better than a 5/10.

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

Thanks for reading this review! My next review is going to be a fun one. It is for the most anticipated film in the history of the world, “Madame Web!” Boy oh boy! I am sure everyone is expecting Scene Before’s first EVER 11/10 score on this one… We shall see. Speaking of film reviews, pretty soon I will be dropping my thoughts on “Drive-Away Dolls,” “Bob Marley: One Love,” and “Dune Part Two.” 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 “Lisa Frankenstein?” What did you think about it? Or, what is your favorite Diablo Cody script? Let me know down below! Scene Before is your click to the flicks!

Anyone But You (2023): Sydney Sweeney and Glen Powell Star in a Romantic Comedy That Neither Feels Romantic or Funny

Posted on by Jack Drees

“Anyone But You” is directed by Will Gluck (Friends with Benefits, Peter Rabbit) and stars Sydney Sweeney (Euphoria, The Handmaid’s Tale), Glen Powell (Hidden Figures, Top Gun: Maverick), Alexandra Shipp (X-Men: Apocalypse, Barbie), GaTa (Good Mourning, Dave), Hadley Robinson (Utopia, Winning Time: The Rise of the Lakers Dynasty), Michelle Hurd (Star Trek: Picard, Law & Order: Special Victims Unit), Dermont Mulroney (The Wedding Date, About Schmidt), Darren Barnet (Never Have I Ever, Gran Turismo), Bryan Brown (Cocktail, The Thorn Birds), and Rachel Griffiths (The King’s Daughter, Hacksaw Ridge). This film is about man and a woman who meet in a coffee shop, hit it off romantically, only to have everything fall apart the next day. Some time later, the two reunite at a destination wedding in Australia all the while pretending to be a couple.

During many of my horror movie reviews, I would point out that horror is one of my weaker genres. When I started Scene Before, and even before I started, I tended to avoid horror because many of the movies coming out in said genre either looked identical or uninteresting. Thankfully, having explored more of the genre over the years, I have welcomed quite a few fascinating titles into my life. Similarly, romcoms are another type of film that usually slip under the radar for me. They’re just not my kind of movie. I’ve watched romcoms in the past. In 2019 I saw and reviewed “Long Shot” and “Isn’t It Romantic?,” which offered two completely different experiences for me. In 2022 I reviewed “Ticket to Paradise,” which ultimately got a thumbs up from me despite some problems that came up throughout the runtime. Last year, I reviewed “No Hard Feelings,” which I called a romcom in my review, though looking back it probably would be more accurate to call it a sex comedy than a romantic comedy. When it comes to this blog I have some experience with the genre. But compared to some other types of films, I am a bit of a novice here.

That said, this film is directed by Will Gluck, whose resume as a writer and director is kind of iffy. He previously did the recent “Peter Rabbit” movies, both of which I skipped because they looked like wastes of time. He did “Friends with Benefits,” which I thought was kind of cute. He also did the 2014 edition of “Annie,” which I watched once when it was on Starz. I did not see all of it, but I saw enough of to say I would rather devote my time to something more valuable. Gluck did not write this film, but he also directed “Easy A,” which thanks to some brilliant pacing, a great story, snappy editing, and a marvelous lead performance by Emma Stone, ended up being one of the more memorable coming of age stories of the 2010s.

So, going into “Anyone But You,” I cannot say I was stoked. But I would say I had generously moderate expectations.

Even with those expectations in mind, I was still let down.

This film is dumb. And I can tell it is dumb on purpose. But it is the kind of dumb I cannot appreciate. There is a difference between dumb fun and just dumb. This is the latter. Maybe it is because it is more in line with the films I usually like to seek out, I found a film like “Godzilla vs. Kong” to be an excellent example of dumb fun because even with the wooden characters and oddly structured storyline, the film has some of the best action I had seen in some time upon its release. It was a technical beast. The score was incredible. The special effects were really good. There was a lot to appreciate visually that kept the movie from being bad, unlike its 2019 predecessor, “Godzilla: King of the Monsters.” On the other hand, there are plenty of times in “Anyone But You” where visual gags popped up that either did not generate a reaction out of me, or if they did generate one, it was one that I don’t think the movie would have been going for.

Much of the humor in “Anyone But You,” most notably in the first half, are visual gags that either have to do with private parts or showing off ironclad bodies, sometimes both. It’s the same joke over and over again. If the joke is not funny the first time. Then it is not funny the second, third, fourth, and fifth time. The joke was old when it started, and it was basically on its deathbed by the film’s halfway mark.

My favorite joke in the movie though is one that involves a koala. Of course, Australia, koalas. What a pair. But there are a couple moments in the movie where we see a koala, and those made for my most notable reactions of the film. The jokes are so simple and quick, but that’s part of what makes them great.

And speaking of Australia, one joke that got old really fast was how much this movie utilized the character of Beau. The actor who portrays him, Joe Davidson, said in a press release, “Beau is what you get when you mix all the Australian islands and icons all into one character.” I have lived in the Boston area all my life, and I have seen a number of movies where the characters in said area will have noticeably played up accents. Movies like “The Departed” and “Good Will Hunting,” both of which I enjoyed. But the accents in both of them are definitely over the top, I’d say particularly more so in the former at times but I’d have to watch both films again to compare and contrast. And sometimes when the accents, and in the case of “Anyone But You,” the stereotypes, happen to be this played up, it is distracting. It is almost annoying. Beau is a living, breathing caricature of what some people would perhaps interpret as a hunky, Hemsworth-like Australian. And of course, they make a Hemsworth joke in the movie. Totally didn’t see that coming at all… It reminded me, as a Bostonian, when I saw “80 for Brady” and we would cut to the commentators and they would spew out the most asinine, ear-destroying Boston accents I remember hearing in film history. Safe to say, they were wicked awful. I am not saying there is anything wrong with Australia, their traditions, and what people think of them. I just think the jokes here range somewhere between lazy and overdone.

But how are the two leads of the film? I mean, they’re okay I guess. Sydney Sweeney does an alright job in her role and the material given to her, but there is not as much an oomph in her character or performance compared to what I would have liked to see. But I have to say, Glen Powell is a powerhouse in this film. I honestly forgot how charming he is. I thought Powell was one of the highlights of “Top Gun: Maverick,” and I am glad he is bringing the same appeal to this movie. While I did not love the movie, the material, the jokes, basically a ton of things in it, my biggest positive of the film is that I cannot see anyone other than Glen Powell playing his respective role. The movie is not funny, but Powell makes the most of what is in front of him and he is clearly trying. I just wish he were written better.

One of the more prominent problems I have with “Anyone But You” is that it ultimately feels like two different movies. Yes, I know it is a romantic comedy, which basically promises a romantic movie and a comedic movie all in one package, but the movie as a whole seems to lack a sense of consistency. The first half is a plethora of failed attempts at comedy, and the movie seems to dive into something more serious by the end of it that quite frankly did not keep me hooked. Part of that is because I never found myself completely invested with the characters in the first half. And the weird part is, despite noticing more obvious comedic attempts in the first half of the film, I am looking back at the film and would say I found the second half to be funnier.

As the film continues, it becomes cliche-riddled, bore-inducing, and tiresome. Is the movie offensively bad? I would not go that far. But it is far from the first pick I would make on a Friday movie night. Again, romcoms are not my genre, but I have come to a point in my life where I am practically okay watching any kind of movie regardless of the genre or what it is advertised to be. That said, I also heard enough about this film have some hesitancy towards it, and I felt as if I was right on those reservations. The film is not funny, overly cheesy, not romantic, and kind of forgettable. There are so many other options in theaters right now that I think you would be doing yourself a favor if you check out something else instead.

In the end, “Anyone But You” did not work for me. This is a romantic comedy that is neither romantic or funny. The jokes not only sometimes feel been there done that, but even the more clever ones fell flat because they felt as if they were repeating an earlier comedic attempt. Going forward, I am probably not going to remember a single character’s name from this film, maybe except Bea, partially because she is the lead, but the film somewhat reminded me of “Titanic” because of how many times I had to hear the names “Jack” and “Rose” in its extended runtime. I felt as if I had a similar experience hearing Bea’s name throughout the film. This movie is stupid and I feel dumber for having wasted my time on it. I would rather watch anything but this film if you ask me. I am going to give “Anyone But You” a 4/10.

“Anyone But You” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! Happy New Year, everyone! And it is time to celebrate with some end of the year countdowns! Pretty soon I am going to be sharing my lists for my best and worst movies of 2023! Stay tuned! If you want to see these lists 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 “Anyone But You?” What did you think about it? Or, what is your least favorite movie genre? Let me know down below! Scene Before is your click to the flicks!

Poor Things (2023): Emma Stone Delivers a Career-Best Performance in This Wildly Entertaining Mish Mash of Genres

Posted on by Jack Drees

“Poor Things” is directed by Yorgos Lanthimos (The Favourite, The Lobster) and stars Emma Stone (The Favourite, The Amazing Spider-Man), Mark Ruffalo (Spotlight, The Avengers), Willem Dafoe (Spider-Man, The Lighthouse), Ramy Youssef (Ramy, Mr. Robot), Christopher Abbott (Sanctuary, Girls), and Jerrod Carmichael (The Carmichael Show, Lucas Bros Moving Co.). This film is based on a book by Alasdair Gray and it is about Bella Baxter, a woman whose body just so happens to be revived as a result of a scientific experiment conducted by the eccentric Dr. Godwin Baxter.

I cannot explain this film’s concept justice. It is not that I do not know what it is about. But even before going to see it, I knew certain things about it that would have made for awkward conversation or have ruined the somewhat vague nature of the film’s marketing. On the surface, the film seems to give enough away. Basically, a woman who happens to be brought to life through science experiences her definition of what it means to live. I think that is a great way to describe this movie without being too detailed, or in some cases, overly graphic. The concept is interesting to say the least. But as far as I am concerned, it was being helmed by someone who I did not completely trust.

One of my least favorite films of 2018 was “The Favourite.” Of that year’s slate of Academy Award Best Picture nominees, that movie was by far the one I considered to be the worst. That film was directed by Yorgos Lanthimos. Other than the fact that I found the film to be a uniquely boring waste of time, it gave me a bad impression of the director to the point where I neglected visiting some of his earlier films. I have heard decent things about “The Lobster” and “The Killing of a Sacred Deer.” But I refused to watch those because I was so turned off by “The Favourite.” As I have said previously on Scene Before, first impressions matter. But I watched the trailer for “Poor Things” and found myself hypnotized, but also with a sense of hesitancy in the back of my mind. But I thought “Poor Things” was worth checking out because much like “The Favourite” five years ago, “Poor Things” has been receiving tons of positive word of mouth. Plus, if Emma Stone continues to trust Lanthimos, maybe I should too.

So, how was the movie? I am very pleased to say that this is a banger of a film. It is not in my top 10 of the year, but it is excellent. I am immensely pleased and surprised by how this film turned out. It is wacky, it is weird, it is a feast for the eyes and ears. Yorgos Lanthimos undoubtedly has a unique style to his filmmaking. But in some ways, this kind of reminded me of a Wes Anderson film. Its color palette is particularly striking, the production design is a perfect blend between reality and fantasy, and the dialogue is almost like an enhancement on everyday life. I might not come across people talking the way these characters do sometimes, but I assure you it makes complete sense within the context of the movie and its universe.

One of the reasons why this film failed to reach the mark of being in my top 10 films of the year is because it starts kind of rough. It takes a bit for the movie to get going, despite inklings of intrigue. There are a couple of moments that I found to be an eyesore. In a movie full of eye candy, there are moments where I found something in the frame quite disgusting to the point where I could not help but wince or look away. It is a bit of a balancing act, really.

Part of the movie is in black and white, and then there is a portion of it that is in color. There were some mixed bags when it came to the black and white scenes. Once we get to the color scenes, that is when the movie unleashes its best material. It is creative, insane, and even with its strange tendencies, everything makes sense. I found every single thing in this film convincing. That said, there are times where the pacing is a tad uneven. It is not a huge dealbreaker, but it is noticeable.

The ensemble of the film is honestly a contender for the best of 2023. To me, it is up there with “Barbie,” “Oppenheimer,” “Killers of the Flower Moon,” and “The Holdovers” in terms of being a fine mix between star power, acting ability, and instant charm from everyone involved. Mark Ruffalo has a number of shining scenes that could potentially warrant some extended talk this awards season. Willem Dafoe, per usual, gives everything his all here. During the latter half of the film, I was heavily entranced by Kathryn Hunter as Swiney. The entire cast in this movie is great, but the star of the show, literally and figuratively, is none other than Emma Stone.

Talk about a marvelous triumph of a performance! Emma Stone nails Bella Baxter throughout this entire film. I looked back at Emma Stone’s IMDb and was reminded of some of her career highlights. Of course as a comic book movie enthusiast, I know she played Gwen Stacy in “The Amazing Spider-Man” and its sequel. She did a good job in those films despite them not being up to snuff. She also did one of the better coming of age films of the 2010s, “Easy A,” where she was funny and charming. I liked her in the “Zombieland” movies. Of course she was great in “La La Land.” I even liked her in “The Favourite” despite my negative thoughts on the movie. Given time to marinate, I have to say Stone’s performance in “Poor Things” trumps all of her past work that I have seen. I honestly cannot think of a performance of hers I liked more. “La La Land” comes close, but Stone’s performance in “Poor Things” is comparatively transformative, it is otherworldly. It something that I could have never imagined seeing in my entire life, especially from someone like her. I am not saying Stone is not a talented actress. There is a reason why she has an Oscar on her mantle. But this is a performance that takes what I know about Emma Stone as a person, as an actress, as someone who has seen her in certain movies, and completely subverts my expectations. As I watch this movie, I of course know it is Emma Stone in front of the camera. Her face has become rather recognizable over the years. In fact, even though I have not seen the movie, Stone may come off as less recognizable in Disney’s “Cruella” based on what I have witnessed through images and marketing. But as I watch this movie, despite the low difficulty of realizing the talent in front of the camera happens to be Stone physically, it is a bit harder to conclude that it is her mentally.

Part of what makes her performance so riveting and exciting is how her character easily blends in to the world around her. The script is written in such a way that I would not call it fantasy, but it certainly is not a part of our reality either. The film, kind of like “Everything Everywhere All at Once” meshes so many genres and ideas together to the point where it practically forms a genre of its own. Bella Baxter is one of the most unique characters I have seen all year, and she comes from an equally one of a kind piece of art. And that is what this movie is. Art. I was transfixed by this in the same way some may be transfixed by the Mona Lisa. Again, this is not to say “Poor Things” is one of the year’s best movies, but it is certainly one of the boldest and brightest.

While Bella Baxter might not be my favorite character in a movie I have seen this year, I need some time to think on that front. Baxter is nevertheless in contention to be, idealistically, the most fascinating protagonist created for the screen this year. She has a sympathetic personality, but she also has the mind of a young child and a teenager all wrapped into one person. With those last two ideas, we see a bit of a transition between them, but they are still interlinked somehow as the movie goes. The film is an entertaining study on what happens if you put someone as eccentric as Bella Baxter into our society, or some variant of it. What would she do? How would she behave? This is basically a fish out of water story. And while the fish out of water idea has been done time and time again, I imagine stories like this one happen to factor into why the idea continues to be unleashed in several projects. It is a tried and true method of storytelling that may be familiar, but if you could your own spin on it, it may be worth seeking out. And speaking of things that are worth seeking out, if you have time on your hands and you have not seen “Poor Things” yet, make an effort to see it at some point. Not only is it a great movie, it is one of the most welcome, monumental surprises of 2023. I know a lot of people were looking forward to this film. I was not one of them. If anything, I almost rolled my eyes knowing it exists. But with one AMC A-List punch later, I can say this is one of the better movies of the year.

In the end, “Poor Things” is a great turnaround for Yorgos Lanthimos. This movie took me from resisting his past work to making me want to see more of it. Emma Stone is better than she has ever been. If she is not nominated for an Oscar this season my jaw will be on the floor. I do not know of any actress I could see beating her this year. This is a once in a lifetime performance as far as she is concerned. The film is very funny. There are a lot of stellar lines from various characters. Bella Baxter’s mannerisms and quirks are wonderfully distinguished and brilliantly written throughout the picture. The movie does a good job at splicing all sorts of ideas at the wall and having most of them stick. The pathos was off and on. I do not think I am going to remember “Poor Things” through much of an emotional connection, but again, the comedy worked quite a bit so that makes up for it. The sets are detailed and colorful. I could not take my eyes off of some pieces. And if it were not for some occasional roughness in the first act, this film would probably make my top 10 of the year. You never know though, I could change my mind. I just saw the film. That said, as far as I am concerned, I am glad I saw it. If Lanthimos and Stone reunite in the future, I cannot wait to see what these two do next. I am going to give “Poor Things” an 8/10.

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

Thanks for reading this review! If you enjoyed this review, why not check out some of my other ones? Just recently I did reviews for “Aquaman and the Lost Kingdom,” “Migration,” and “Wonka.” Check those out when you have a chance! Also, I will soon be reviewing the new romcom “Anyone But You.” That will be up later this week. Also coming soon, I will be announcing my top 10 best and worst movies of 2023. 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 “Poor Things?” What did you think about it? Or, what is your favorite Yorgos Lanthimos movie? Let me know down below! Scene Before is your click to the flicks!

Maestro (2023): Bradley Cooper’s Sophomore Directorial Effort is a Step Down from A Star is Born, but Is Delivered with Undoubted Passion

Posted on by Jack Drees

“Maestro” is directed by Bradley Cooper (A Star is Born, Guardians of the Galaxy) who also stars in the film as Leonard Bernstein. Alongside Cooper is Carey Mulligan (She Said, Promising Young Woman) as his love interest, Felicia Montealegre. This film is about Leonard Bernstein’s journey through life as he spends it focusing on his greatest passions. Composing music and his relationship with his partner.

Actors who become directors is nothing new. In recent years we have seen it with James Franco, Jonah Hill, Olivia Wilde, Jordan Peele, and John Krasinski to name a few. The results have from these people have varied across the board, but another man on that list is Bradley Cooper. His previous outing was the 2018 remake “A Star is Born,” which became one of that year’s most celebrated titles that thrust a popular original song, “Shallow.” I thought the film was very good. Maybe a tad overrated as time went on, but I found it to be well done. And much like that film, Cooper’s directorial followup, “Maestro” also features him as the star. This film was not completely on my radar. Partially because Netflix is traditionally terrible at marketing their originals most of the time, but I at least knew about the film because the Internet has its way of feeding information to me. I was not completely sure what to think, but I was onboard with the concept. Bradley Cooper is currently 1 for 1 in the director’s chair, so I wanted to see if he could make it 2 for 2.

And he certainly scores here.

Overall, “Maestro” is a step down from “A Star is Born.” I don’t think I will be thinking about “Maestro” for as long or as heavily as I did after seeing “A Star is Born” back in 2018. I have not gone back to rewatch the film since, but I praised the film for its music, its acting, its screenplay, and display of what happens to creatives once they are given tools from big names. I still think the idea that people would make fun of Lady Gaga’s nose is unconvincing to the tenth degree, but the movie’s gotta movie.

If anything, Bradley Cooper almost directs this film better than he acts in it, and that is saying something because he is quite a good actor. There is a long orchestra scene more than halfway through that had me fully engaged. The entire film is set in the 20th century, but with that in mind, a lot of the film’s earlier scenes heavily immersed me. But I also think part of why he directs this film so well is because the acting in this movie is so good. One of the key aspects of directing is making sure your actors give the best performances possible. Given Cooper’s acting background, he uses that to his advantage as I felt several characters honestly could not be played by anyone else. Even if I was not a fan of some of the script choices or dialogue the characters had to utter, each character managed to make me escape from my chair into the screen. While this film is based on true events, it felt like a world that was different than my own.

Going back to Bradley Cooper’s acting, I think his acting here is also a slight step up from “A Star is Born,” because it is more chameleon-like here. Yes, factors like makeup, costuming, and others come into play here. But if I have one thing to say about this movie that makes his performance better here than “A Star is Born” it is that when I hear Bradley Cooper talk or look at his face, I see Cooper himself. In “A Star is Born,” he comes off as a movie star sometimes. It does not mean his performance sucked. Not one bit. It just means that felt like I was watching a variation of the actor as I also watched the character. Here, all I see is Bernstein. It is one of the best lead performances of the year and undoubtedly one of the finest of Cooper’s career.

The film is also one of the best edited pieces of the year, it starts kind of fast, but there are plenty of slower scenes to balance everything out. But as we get to the climax, there is a lot of breathing room that allowed the emotions of the scene to sink in. It allowed me to perhaps successfully feel the emotions this movie was going for.

The film is written by Bradley Cooper in addition to one of the finest screenwriters of this generation, Josh Singer (Spotlight, The Post). When it comes to the latter, this is one of his weaker scripts, but there is a lot to like about it. I think the first two acts have their off and on moments. Certain portions of the story worked better than others, but the third act made the film worth watching. The film is a slice of life piece to some degree and very much highlights both its beauty and misfortune. Once we find out a certain revelation about the character of Felicia, I was riveted. The way the scene plays out once the revelation kicks in is nothing short of emotional. I almost teared up. If I took one thing from this film, without going into spoilers, it is the idea that life is short so you should enjoy it however you can. Some of the happenings throughout the film cement that idea to a high degree.

The film is of course called “Maestro” meaning it is about Leonard Bernstein. But at its core, it is a love story. If anything, I think “Maestro” is quite a good love story. Bradley Cooper has a knack for romance between this film and “A Star is Born,” and part of that is because of the chemistry he maintains with his co-lead. This time around it is Carey Mulligan. Both actors and their characters have natural on-screen chemistry and this is shown in every era this film flies through. Speaking of the eras, the film manages to transition very naturally between each timeframe. Not once do I feel like we are spending too much or too little time in one place or another.

“Maestro” is unfortunately from Netflix. I say unfortunately because that means most theaters will not be playing it. I thankfully got to see it in a theater, and I have no regrets. This is a film that is worth seeing in theaters just to take in every little detail from the cinematography, the production design, and to hear the music perhaps the way it was intended. Again, going back to the orchestra scene more than halfway through the film, that was glorious to watch in a theater. It is the holiday season, meaning that there is a chance that you are with loved ones and may be looking for an excuse to get out of the house at some point. This is not a film for everybody, but if there is a theater near you playing this, take advantage of that opportunity and take your partner, take your spouse. take your parents, take your grown children. Have a night out on the town, get some food, and go see this movie. You might not regret it.

Or of course you could order takeout and watch Netflix in your pajamas, your call.

In the end, “Maestro” is a step down for Bradley Cooper’s directorial resume, but that is like comparing winning 200 bucks on a lottery ticket and then scratching another ticket moments later to win 150. Both clearly deliver a sense of satisfaction. One is just clearly greater than the other. That said even with “Maestro” being a lesser film than “A Star is Born,” I would not be against watching it a second time just to study it. The cinematography looks really good, it is well directed, and the editing is top notch. Technically, there is a lot to like about it. And as a love story, it is solid. Both leads are fantastic and make the movie worth watching. Overall, an easy thumbs up from yours truly. I am going to give “Maestro” a 7/10.

“Maestro” is now playing in theaters and is also available on Netflix to all subscribers.

Thanks for reading this review! My next review is going to be for “Wonka,” starring Timothee Chalamet as a younger interpretation of the iconic chocolatier. I just had a chance to watch the film earlier this month in IMAX, and I will have my thoughts on it soon. Also stay tuned for my reviews for “Migration” and “Aquaman and the Lost Kingdom.” 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 “Maestro?” What did you think about it? Or, which of Bradley Cooper’s directorial efforts do you like better? “A Star is Born?” Or “Maestro?” Let me know down below! Scene Before is your click to the flicks!

Priscilla (2023): A Hauntingly Brilliant Encapsulation of First Love and the Hesitancy of Letting Go

Posted on by Jack Drees

“Priscilla” is directed by Sofia Coppola (Lost in Translation, The Virgin Suicides) and stars Cailee Spaeny (On the Basis of Sex, Pacific Rim: Uprising), Jacob Elordi (The Kissing Booth, Euphoria), and Dagmara Domińczyk in a film about the young girl who meets Elvis Presley, falls in love with him, and how her life changes while connected to the rock and roll star. It is also based on “Elvis and Me,” a 1985 memoir co-written by Priscilla Presley and Sandra Harmon.

As indicated in one of my recent reviews, specifically, “Dicks: The Musical,” A24 is a wonderfully polarizing studio. It has delivered its fair share of huge hits and magnificent misses, but with just about every film they have done, I walked out of each one recognizing that something stood out about them. Whether it was the way they were shot, written, acted, edited, or an oddball combination of aspects that somehow make the project individualistic. Between that background, and the hauntingly beautiful trailer that was released in advance of this film’s release, I was curious as to what this film could deliver.

But little did I know what it was bound to deliver. “Priscilla” is easily one of the best films I have seen this year.

2023 has had plenty of bangers for me like “Spider-Man: Across the Spider-Verse,” “Oppenheimer,” and “BlackBerry.” Of course there are other movies too, but “Priscilla” shares similar qualities to those movies in the sense that I could not stop thinking about it the moment I exited the theater. Because those films all had screenplays that continuously had me thinking about the themes, the ideas that went into the film. “Priscilla,” much like the recently mentioned latter films, is based on true events. Even if this film somehow managed to capture a Hollywoodized version of what happened, it was very effective in its efforts. Almost every other scene between the two leads, mostly in the later portion of the film, almost had me biting my nails. I did not know a whole ton about the relationship between Elvis and Priscilla, but this film sort of opened my eyes. In fact, it perhaps earns an additional ticket of certification as it is produced by Priscilla Presley herself.

While this film is a showcase of the romance between Elvis and Priscilla, it is something deeper at its core. It is really a marvelous depiction of what it is like to be an adolescent with a first crush. Even as you age, that idea sometimes fails to slip away. We see that as Priscilla and Elvis become romantically involved, she longs for his presence, and of course, Elvis comes with the bonus of being a bit of a status symbol. But even without Elvis in the mix, I think the movie does a decent job at showing what it is like to be young, experience love, or some feeling that resembles love, for the first time. This is mostly shown on Priscilla’s part, as she is the protagonist of the film, but it is also fascinating to see someone like Elvis Presley decide how he chooses this one young girl over the thousands of other screaming fans, not to mention celebrities alive at the time of his dominance. Their connection is one that is not easy to watch, but hard to look away from. It is ultimately a riveting, gut-wrenching romance that does not have me thinking the individuals involved are making the best choices, but it is one that I understand why it could happen. That is the foundation of this movie. Taking two young, beautiful, different people, and putting them together in a connection that is not exactly smooth-sailing. It kind of has its ups and downs along the way, but the downs become increasingly evident as the movie goes.

This movie made me ask myself what I would do had I slipped into Priscilla’s shoes. There is a moment in the film where Elvis and Priscilla are together, the former is doing an activity, and the latter seems uninterested in it. Elvis appears to catch on but informs Priscilla that there are a lot of people, particularly women, who would kill to do said activity with him. That moment basically summed up the whole movie and Priscilla’s character to a tee. We all have our celebrity crushes. I will be straight up and admit that one that instantly comes to mind for me, at least at this moment in time would have to be Ana de Armas. Now if I were given the opportunity to be with her if I found out she were single, my mind would instantly think “yes.” But the question that remains to be answered is whether I would stay with them once I get to know their various quirks. The question remains true for any potential partner, but I would have to imagine in some cases, when it comes to a high-profile celebrity like Elvis Presley, or in my case, Ana de Armas, it would be a lot harder to back out in a situation like that. It goes to show how deeply we value celebrity culture and how it influences us as a society. This movie basically sums up the whole “don’t meet your heroes” idea. Did meeting Elvis Presley and getting to know him disappoint Priscilla? Maybe not at first. But as the movie goes along, we see the two develop to a point where the relationship becomes controlling, one-sided, and toxic. Because of this, “Priscilla” is arguably the most uncomfortable I felt watching a movie in 2023, but I mean that in the most positive of statements. It felt raw. It felt immersive. It doesn’t hold back.

To my lack of surprise, the Elvis Presley Foundation declined their approval for the film. After all, unlike last year’s “Elvis,” it features the iconic musician in a less positive light. It complexifies him to the point where he is a bit more arrogant. He may be nice in some scenes, but the movie is not afraid to highlight moments where he is a jerk. Therefore, while this movie did not get me to stop appreciating some of Elvis’s songs, I admire its approach in telling a story where someone so well known and respected is given a much darker background. Speaking of Elvis’s songs, and given what I just said this should not come as a huge shock, there are no Elvis songs in this film. That said, the film has a decent soundtrack that captures its respective setting beautifully. It has a nice throwback feel and I admire the film aspiring to the challenge of putting none of Elvis’s songs in a movie in which he is prominently featured. That said, he is not the protagonist. This is not his story. This is Priscilla’s story. And her story is glorious. It is a story I will continue to think about for ages. It is a story that says a ton on how we view our idols. How we will sometimes make sacrifices for the people we admire. How we feel when we experience love and don’t want to let it go, even if it may be for the greater good. “Priscilla” is an easy two-thumbs up.

In the end, “Priscilla” is one of the most hallowing tales of love I have ever seen. It is one of those movies that you kind of have to see to believe. “Priscilla” is not only one of the best movies of the year, it is one of the finest works A24 has put out in its short history. It is up there with “Room,” “Pearl,” and “First Reformed” as one of my favorite films the distributor has put out. Sofia Coppola brings amazing performances out of everyone in this film, especially its two leads, Cailee Spaeny and Jacob Elordi. Both of these two should be in contention for some big buzz this awards season. They do an excellent job with their roles. Regardless of how this film bases itself on true events, I think Priscilla Presley has one of my favorite character arcs in recent film. By the end, I was satisfied with her journey, but I left feeling icky. And mean that as a compliment. With each passing moment, Cailee Spaeny dominates the screen with her admirable presence and instant likability. If you told me in 2020 that in the next few years we’d be getting a movie from Warner Brothers about Elvis Presley, and follow that up next year with a movie from A24 about Priscilla Presley, I’d slap you across the face and call you crazy. If you told me after getting slapped that I would hate the Elvis Presley movie, and think the Priscilla Presley movie is a significant improvement over it, I might buy into your claim given how I think A24 tends to put out standout film after standout film. Yet at the same time, I would tell you to seek professional help. But here we are. “Priscilla” is one of the year’s best films and I am going to give it a 9/10.

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

Thanks for reading this review! My next review is going to be for the brand new anime “The Tunnel to Summer, the Exit of Goodbyes!” This film was not playing in too many places near me, but I did get a chance to catch a screening of it at an AMC, so I will have my review of the film as soon as possible. Also coming soon, I will be sharing my thoughts on Marvel Studios’ latest film, “The Marvels,” Disney’s newest animated feature, “Wish,” and Taika Waititi’s most recent directorial effort, “Next Goal Wins.” 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 “Priscilla?” What did you think about it? Or, if you have seen both films, I want to know which one you liked better… “Elvis?” Or “Priscilla?” Let me know down below! Scene Before is your click to the flicks!

The Persian Version (2023): Two Generations of Stories Come Together in a Uniquely Structured Dramedy

Posted on by Jack Drees

“The Persian Version” is directed by Maryam Keshavarz (Viper Club, Circumstance) and stars Layla Mohammadi (Special Ops: Lioness, The Sex Lives of College Girls), Niousha Noor (Kaleidoscope, Here and Now), Bijan Daneshmand (Infidel, The Night Manager), Bella Warda, and Tom Byrne (The Crown, Road Dance). This film is about a young Iranian-American woman who is at odds with her family, most notably her mother. The two have their key differences. But when a secret is revealed, the young woman realizes that she and her mother may have more in common than then they once thought.

“The Persian Version” is a film that I am not surprised a lot of people are keeping out of the conversation. It is not playing in too many places, and it came out the same weekend as “Five Nights at Freddy’s.” By the way, I have no plans to watch that film for those who ask. But I was very intrigued by “The Persian Version.” I was sold with the marketing. The movie looked, bright, cheery, vibrant, and seemed to make the most of whatever budget it had. It did not look terribly expensive, but it looked polished for a film of its caliber. Turns out, that is just half the battle, because little did I realize what I would be in for.

“The Persian Version” is a quirky, fun, good old fashioned time that occasionally inserts moments of seriousness every once in a while. Is this a good thing? Sort of. There are multiple storylines at hand, all of which deliver some sense of engagement to varying degrees. Like a lot of other movies, there are parts of “The Persian Version” that are better than others. But in the case of “The Persian Version,” even when the movie transitions in an uneven, and nearly cluttered manner, I still find myself invested in much of what is going on.

I found the storytelling and the way it was executed to be particularly creative. It is non-linear, there is an occasional song and dance aspect. There are notable tonal shifts. There is a balance between comedy and drama. But when it comes to those last two things, it is kind of like a see-saw. It has its highs and lows. I found the comedy in particular to be funny, charming, and for the most part, it works. I found the drama to bring the film to a more down to earth feel that gives a sense of perspective for the characters at hand. This does not result in the best movie of the year. Far from it. But it does result in a film I do not regret seeing and one I think that if it is playing near you, would not make for a bad choice. It comes with plenty to enjoy even with its quirks, whether they work or not.

This film starts out in a lighthearted manner. But it sort of does a back and forth transition between genres where at one moment, it is serious. It is dramatic. Then eventually, it reverts back to being something of a comedy. If you have seen my last review, “Freelance,” you would know that meshing genres does not lead to the best results. But in this movie’s favor, it manages to utilize comedy in a way that is humorous. And it also blends in drama to the point where it manages to compel me. But it does not mean the film is without its imperfections. If anything, I think as fascinating as the events within these genre blends are, there is a noticeable sense of inconsistency between them. Because while comedy and drama can work when combined together, the shift from one genre to another feels nearly seismic at times. It does not really allow much room to breathe and the movie almost spends too much time focusing on one genre to the point where it almost has no identity. It is kind of a mish mash, and too extreme of one at that.

The best way I can describe “The Persian Version” is that it is two movies in one package. Both movies are really good, but they almost do not fit together. The story presents itself in two tonal opposites. In comic book movie speak, it’s like combining “Deadpool” with “V for Vendetta.” Both movies work perfectly on their own, and maybe if you put both together, they could lead to an interesting result. But combining both projects only lessens their value in a case like this.

Although given time to marinate, the movie presents two different tones that ultimately fit their respective narratives by the end. And the more I ponder, it gives me a good idea as to how this film’s main duo tends to see the world. In the back of Leila’s mind, she will do anything to embrace the fun and spontaneity of life. She will do anything to have a good time. She will do anything to keep herself happy. Meanwhile we see another story with her mother as the center where I am getting the sense that having fun may not be the top priority, and fun would only get in the way of what she thinks is important. But it is also shepherded by what these two have on their plate at their respective times of their lives.

The other thing I really appreciated about the movie is that it kind of gave me perspective as someone who is of similar age to Leila, who serves as the film’s protagonist. It reminded me that nobody is perfect. I often think about my parents growing up and realize that maybe they have made choices in life that they either regret or maybe their parents did not always agree with, but maybe they stood by them regardless of the outcome. That is not to suggest those choices are a bad thing, because in the end, they ultimately make us who we are. What matters is how we conduct our lives moving forward for ourselves, in addition to the people around us. In the end, even if our choices end up being mistakes, life finds a way to make us happy.

To top off all of what I just said, “The Persian Version” has a marvelous ensemble that is led beautifully by a mother-daughter duo played by Niousha Noor and Layla Mohammadi respectively. Both individuals are perfectly cast and play off each other very well. The family itself offers plenty of moments to enjoy. I thought Leila’s grandmother, Mamanjoon, was a highlight of the film. She also had my favorite line of the film that comes into play a couple times. It got a good laugh out of me. When it comes to slice of life-style films, “The Persian Version” gets plenty of things right, but it is not without its flaws. But would I watch it again? Perhaps so. It is by far one of the most unique movies of the year and if you are looking for something beyond the traditions of filmmaking, this is a decent option.

In the end, “The Persian Version” showcases the beauty of life, all the while highlighting problems that its core woman characters have to face at certain times of their lives. No matter how big or small. The movie is kind of like life itself. It has its fun moments. It has its downer moments. But by the end, everything tends to come full circle. I think this is a creative, one of a kind feature that despite not getting a lot of attention at the box office for the past number of weeks, certainly had mine. I am going to give “The Persian Version” a 7/10.

“The Persian Version” is now playing in select theaters. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, good news! I have more coming! My next review is going to be for “Priscilla!” I got the chance to watch this film at the beginning of the month. It has been on my mind for quite a bit. I cannot wait to talk about it. Also coming soon, I have reviews coming for “The Tunnel to Summer, the Exit of Goodbyes” and “The Marvels.” Stay tuned! 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 “The Persian Version?” What did you think about it? Or, what is your favorite mother-daughter relationship in film? Let me know down below! Scene Before is your click to the flicks!

No Hard Feelings (2023): A Hot Hot Hot Summer on Long Island

Posted on by Jack Drees

“No Hard Feelings” is directed by Gene Stupnitsky (Bad Teacher, Good Boys) and stars Jennifer Lawrence (The Hunger Games, Joy), Andrew Barth Feldman (A Tourist’s Guide to Love, High School Musical: The Musical: The Series), Laura Benanti (Nashville, The Detour), Natalie Morales (The Grinder, Abby’s), and Matthew Broderick (Election, Ferris Bueller’s Day Off). This film is about a woman whose car breaks down and will do anything to receive a new one. Anything. Even date the brains out of a 19 year old. When the 32 year old woman finds this 19 year old man undateable, chaos, hilarity, and awkwardness ensues.

If you have been looking at some of the movies coming out this summer, you would notice that some have unusual or unique marketing campaigns. If you go on YouTube, Universal is airing a year-long countdown to “Oppenheimer.” “Mission: Impossible – Dead Reckoning Part One” director Christopher McQuarrie alongside star Tom Cruise started a trend of buying movie tickets for their competition all the while promoting their own film. Barbie director Greta Gerwig and star Margot Robbie followed suit showing off their own tickets on social media. Although there is one marketing campaign that also caught my attention, that being the one for “No Hard Feelings.” In addition to the funny red band trailer, Sony and crew took advantage of billboards to not necessarily promote the movie, but put up an ad promoting a car, specifically this one that says NEED A CAR? “DATE” OUR SON. The head-turning ad of course was not real, but rather a potential boost for the “No Hard Feelings” movie. I saw that ad occasionally on a billboard by I-93 on the way to work. The ad also presents the fascinatingly taboo concept of the film. Specifically, Maddie, a 32 year old woman, must “date” Percy, a 19 year old boy, to get the car she is after.

This is not the first time this decade where we had a lead couple with a bit of an age gap in cinema, as Paul Thomas Anderson’s “Licorice Pizza” had a 25 year old woman dating a 15 year old boy. Although the biggest difference between these two films is that I actually found “No Hard Feelings” to be a fine use of my time. I know a lot of people enjoyed “Licorice Pizza.” It is competently made. But I found the characters to be unlikable, most notably Gary Valentine. I found him to be creepy and power hungry and it did not sit well with me. A romcom is only as good as its two romantically involved leads, and I think Jennifer Lawrence and Andrew Barth Feldman make for a great pair.

When I wrote my “Licorice Pizza” review, I addressed the age gap between the two leads, but I also said that if Gary Valentine were 18 years old, that would make the romantic connection between them more palatable. In this film, Percy is, again, 19, which makes him a legal adult. Despite being 13 years apart from Maddie, I think their connection, while taboo, is not outright uncomfortable or obscene because it is by all accounts, fair game according to U.S. law. Sure, it is 3 more years apart than the leads in “Licorice Pizza,” but still.

That said, I think both leads are not only great in this film, I almost cannot imagine anyone else playing their characters. Jennifer Lawrence is perfectly cast as this down on her luck individual who just so happens to have a bit of a potty mouth. The casting only makes sense because Lawrence was raised to be tough, there is an interview where she was supposed to drop as many swears as she could to raise money for charity. That toughness is often exuded from Maddie, who tries to change Percy for what she thinks is for the better. She observes Percy, listens to him, and comes to the conclusion that his helicopter parents have had a tremendous influence on his day to day life. He does not take any risks, lacks confidence, and has no experience with partying or letting himself loose. He is kind of a pariah. He kind of reminds me of my younger self in some ways as I was, and kind of still am a reserved dork (though I have my moments of extroversion).

Though I was also pleasantly surprised to see how much I enjoyed this film’s portrayal of Percy’s parents. Laura Benanti and Matthew Broderick play their parts with excellence. Both of them have their moments of levity, but do not steal the spotlight from our lead duo. Speaking of the two leads, the way their romantic connection throttles the rest of the story only makes the presence of these parents all the better. This is especially true in the second act.

“No Hard Feelings” in some ways elicits the vibes of sex comedies like “Risky Business” and “The Graduate.” Much like “Risky Business,” there is a heavy part of the plot dedicated to a car. There is even, maybe in the greatest of coincidences…? A heavy part of the plot dedicated to Princeton University. The protagonist is transitioning from high school to college. The love interest, if you can call them that, propels the protagonist to change themselves to the point of making them appear more individualistic. “The Graduate” has a couple romantically-attached leads, both of whom are adults, who have quite the age gap as well. If I had to choose a film to watch on a Friday night, I would honestly pick either of those two. But there is a healthy mix of comedy and romance in this film, which is also the case with those two. “No Hard Feelings” feels surprisingly more intimate than its advertising lead me to believe, but that is not a bad thing because I bought into the chemistry between the two leads and they make it work.

I am not going to pretend “No Hard Feelings” is the funniest movie on the planet. In fact, without giving much away, as this pertains to a future review, it is not even the funniest movie I have seen in the past few weeks. But if you are looking for a romantic comedy that does a bit more than scratch the surface, “No Hard Feelings” gets the job done. I have no plans to see it again, but I am glad I saw it this once. If anything, I am glad we are getting movies like this to begin with. It is a movie that I went in expecting a hilarious dose of sex humor, which I ultimately got. But I also felt what was watching was surprisingly heartfelt. I like the two leads not only as an unlikely duo, but they are actually kind of cute together. As I said in the beginning, films like this one are as good as its romantically involved leads. If these two did not click, this would have been a hard watch, and the only feeling I would have acquired, was one of sickness.

In the end, “No Hard Feelings” checks a bunch of marks not only as a romcom, but also doubles as a coming of age story if you are viewing it from the perspective of Feldman. Yes, Jennifer Lawrence is the bigger name and much of the movie revolves around her journey, but it equally gives enough time to Feldman’s character to see where he takes him. I think Feldman, like Lawrence happens to be right now, is going to be a name to look out for. He is phenomenal in his role. “No Hard Feelings” works because not only these two leads are likable together, but as individuals. While the movie definitely presents Percy as shy and reserved, to the point of it being an extended joke, I found that shyness relatable at times because he reminded me of my teenage years. I did not get out much, I was never the life of the party, I had weird interests that stick with me today, and I never had much of a social life. Meanwhile, Maddie is just trying to get by each and every day. All she wants is a car. That’s all anyone living in a country with underfunded, neglected public transit ever wants. It goes to show that opposites attract and that we may be starting to get some genuinely good comedies again. Since the pandemic, I can only name a few straight up comedies that I remember laughing to on a consistent basis, and this is one of them. Yeah, I managed to witness some highlights like “Clerks III.” Sure, we have had funny films like “The Menu,” but to call it a comedy would be a bit of a stretch. Maybe it is a dark comedy, but I would put it somewhere between comedy and horror. It is nice to see more lighthearted fare, even if it contains filth. I am going to give “No Hard Feelings” a 7/10.

“No Hard Feelings” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for Pixar’s “Elemental.” Also coming soon, I will be sharing my thoughts on “Ruby Gillman, Teenage Kraken,” “Indiana Jones and the Dial of Destiny,” “Joy Ride,” and “Mission: Impossible – Dead Reckoning Part One.” 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 “No Hard Feelings?” What did you think about it? Or, what is your favorite sex comedy? Let me know down below! Scene Before is your click to the flicks!