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Eleanor the Great (2025): June Squibb Gives one of 2025’s Best Lead Performances in Scarlett Johansson’s Directorial Debut

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“Eleanor the Great” is directed by Scarlett Johansson, and this marks her first time directing a feature film. This movie stars June Squibb (Nebraska, Thelma), Erin Kellyman (Willow, Raised by Wolves), Jessica Hecht (Friends, Breaking Bad), and Chiwetel Ejiofor (The Lion King, Doctor Strange). This film is about a 94-year-old woman who moves from Florida to New York following a devastating loss. Shortly after her arrival, she finds herself in a group where she tells a tale that harkens back to the Holocaust.

Last year, I was introduced to June Squibb in the super funny comedy “Thelma.” If you told me that I would walk out of an action movie, led by someone in their 90s, thinking the lead kicks all kinds of butt, I would say, “Unless it’s Clint Eastwood, I ain’t buying it.” I am glad to be surprised.

Now Squibb is once again a leading lady in “Eleanor the Great.” But just because a movie has an actor I admire, does not mean it automatically sticks the landing. Heck, as much as I love Ke Huy Quan, watching “Love Hurts” earlier this year was sometimes painful despite some cool action scenes.

I have to think about the two movies side by side for a little bit, though I would understand one’s argument as to why “Eleanor the Great” is the better of the two films. I can honestly see myself going back and forth between the two movies depending on my mood. After all, I would argue that “Eleanor the Great” was not made for as wide of an audience as “Thelma.” “Thelma” has action, comedy, and it balances things out with some occasional pathos. It also presents a story where there is a relatable character for every age group.

If you cry easily, you might want to sit out on “Eleanor the Great.” The film partially centers around the Holocaust, or more accurately, reflections about the Holocaust. It also deals with getting older. Sure, “Thelma” did that too, but “Eleanor the Great” has a lot less fun with that concept. Not only does it deal with Eleanor herself getting older, but also what it is like for other people to watch her get older. It presents the obstacles she has to cope with, as well as those her family are pushing through themselves. June Squibb does an excellent job representing these obstacles as the lead through everything she does, as well as the things she observes around her.

“Eleanor the Great” is not just June Squibb’s show. The film is directed by one of the most talented and profitable actresses working today, Scarlett Johansson. Anytime an actor turns to directing, I have a little hint of curiosity. My big question is if they should stick to acting, or if they could sit in the chair for another round, and the latter is true for Scarlett Johansson. She understands what every performer in this film is supposed to deliver. The direction is not perfect. There are some moments that feel a little rushed just so we as an audience can understand a character’s line and move on. Select scenes appear more obviously staged than others, but they do not take away from the authenticity presented throughout much of the film’s runtime. That said, the moments where we get to know Eleanor’s so-called backstory, each line pairs well with the overall selection of shots. The film is meticulously edited. It is some of the finest I have seen this year. Eleanor’s storytelling is not only effective enough in terms of letting those around her get emotional, but also in the sense of letting that emotion fling itself to the audience watching the film.

Johansson did not write the movie. That honor belongs to Tory Kamen. The film is based on Kamen’s own experiences as well as the experiences of those she knows. One of the most robust rules in screenwriting is writing what you know. While Kamen is not old enough to have witnessed the Holocaust as it happened, she uses the perspective of people in her life to create an emotionally charged hour and a half.

In fact, I think this film reaches a major accomplishment with its portrayal of the Holocaust. Because if you watch films like “Life is Beautiful,” a chunk of the runtime is spent showing the horrors of the Holocaust, rather than telling them. Since film is a visual medium, I often believe “showing” should be prioritized over “telling” within the confines of said medium. However, some of my most emotional reactions regarding the Holocaust have been through seeing pictures or video, not by hearing someone talk about it. Hearing Eleanor tell the story of her friend had me stunned. By the end of the film, I was trying my best to hold back tears.

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Just because the film deals with serious topics and features characters who have experienced some of the absolute worst moments in history, does not mean there are no lighthearted moments. With this film being set mostly in metro New York, we get to see Eleanor share some sympathy to a cab driver when she finds out he lives in Staten Island. Another example involves Eleanor’s love for Coney Island. Despite Eleanor’s reservations about moving to Manhattan, the film reveals how much she treasures Coney Island. While the film does have its occasional moment of levity here and there, the Coney Island storyline is the shiny gem planted between a rock and a hard place. That said, “Eleanor the Great” is incredibly poignant. Despite centering around the Holocaust, the screenplay is a work of fiction. The characters may not be real, but their respective performers are infinitely raw in their portrayals.

The basic concept of this film is intriguing enough, but the events that piggyback off of it are just as interesting. Not only does it establish an admirable connection between Eleanor and a curious college journalist (Erin Kellyman, center), but it later inserts Eleanor in scenarios that as soon as they came up on screen, a part of me went “Oh, no…” At times, I could feel the uncertainty running through Eleanor, and I got surprisingly nervous for what was going to happen as the film progressed. The film is predictable in some ways, but it presents obstacles and scenarios that not only did I fail to see coming, but feel earned. As this film neared the credits, I got pretty close to tearing up. This film has its moments of levity, but it is not an easy watch. Do not get me wrong, the movie is not a bad watch. If you can deal with the serious subject matter, I can see you appreciating “Eleanor the Great.” Please check it out if you can.

In the end, “Eleanor the Great” is a stellar directorial debut for Scarlett Johansson. At times, the movie feels predictable, some scenes come off as staged, and there are maybe one or two small moments that feel rushed. Even with those complaints in mind, this is one of the most emotional film-watching experiences I have had all year. This movie might not be in my top 10 of the year, but I would not be shocked if it ends up in my top 20. June Squibb is a tour de force. The supporting cast from Erin Kellyman, to Chiwetel Ejiofor, to Jessica Hecht, to Will Price, all do a superb job as their respective characters. If Scarlett Johansson is directing another movie, count me in. I am going to give “Eleanor the Great” an 8/10.

“Eleanor the Great” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “The Lost Bus.” Stay tuned! Also coming soon, look forward to my thoughts on “One Battle After Another,” “If I Had Legs I’d Kick You,” “Tron: Ares,” “Bone Lake,” “A House of Dynamite,” and “The Smashing Machine.” 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 “Eleanor the Great?” What did you think about it? Or, have you ever been to Coney Island? What did you think of it? I’ve actually been twice, and both times were fun. Though I will admit the second time was arguably more enjoyable as I had much better weather. Let me know if you’ve been down below! Scene Before is your click to the flicks!

Oh, Hi! (2025): A Surprisingly Relatable Romcom That Features Multiple Relationship Extremes

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“Oh, Hi!” is directed by Sophie Brooks and stars Molly Gordon (The Bear, Animal Kingdom), Logan Lerman (Fury, The Hunters), Geraldine Viswanathan (Thunderbolts*, Blockers), and John Reynolds (Search Party, Stranger Things). This film is about a couple who go on their first romantic getaway, only for it to go awry in an unexpected way.

I saw “Oh, Hi!” as part of a double feature. I do not usually partake in double features. In fact, when many people were participating in the infamous “Barbie” and “Oppenheimer” trend back in 2023, I saw “Oppenheimer” opening weekend, but waited on “Barbie” for a couple weeks. That said, because of my schedule over one particular weekend, I saw “Oh, Hi!” just minutes after finishing Micahel Shanks’ solid directorial debut “Together.” As I was waiting to watch both movies, I was thinking “Oh, Hi!” could be a nice palette cleanser after some body horror shenanigans, kind of like “Barbie” would have been had I watched it right after “Oppenheimer…” Boy was I wrong.

I often watch movies with my grandma, and this is one I am kind of glad we did not watch together. For the record, the film is quite good. But keep in mind, it is a dark comedy that is probably best watched with, or without, certain people.

I skipped most of the marketing for “Oh, Hi!”, other than catching a random spot on social media every once in a while, so when this film got to the core of the story, I was rather surprised by where it was going. Conceptually, this is a great idea for a movie. The thought of trapping someone to a bed to test romantic compatibility is undoubtedly dark, but the movie handles this narrative with excellence.

This sounds unbelievably stereotypical as a straight white male, but romcoms are not my first choice when it comes to movies. It does not mean they are impossible to enjoy, because “Oh, Hi!” is a blast. It is a romcom worthy of its title. The film is romantic and comedic. I very much felt the spark between its two leads while also having plenty of laughs. This is neither the most romantic or funny movie I have seen, but when it comes to both of those adjectives, I would be lying to say they do not apply to this film. The movie does not hold back on its story either. It is a story that is not only relatable, but does everything to keep you engaged. As the film reached its final ten, fifteen minutes, I was on the edge of my seat.

Much of what makes “Oh, Hi!” work so well is the cast. At the top you have Molly Gordon and Logan Lerman as Iris and Isaac, a completely admirable couple, if you want to call them that. Right below them is Geraldine Viswanathan and John Reynolds as Max (right) and Kenny (left). I was pleasantly surprised to find David Cross make an appearance in the film. He does not play a significant role in the story, but he is charming and funny. In fact, everyone in the film is charming and funny. They all play off each other perfectly. Props to casting, each actor feels well placed in their role.

There is a saying that every story is only as good as its villain. The antagonist of “Oh, Hi!” is by no means evil. There are no world-ending matters in a movie like this.

In fact, while Isaac (left) is most likely “the” antagonist of this film, it does not suggest that Iris (right) is a perfect individual herself. She ends up making some nearly indefensible, dark decisions despite her best intentions. That said, it does not change the fact that both characters are likable.

What makes Isaac in particular likable is his relatability. The film seems to address a common issue that people have in relationships, particularly commitment. The idea of committing to being with someone else for the rest of your life is one of the most daunting decisions you can make. The idea of taking steps in a relationship is scary. The idea of getting married is scary. The idea of being with someone else every day is scary. Nobody knows what the future has in store.

That said, having seen “Oh, Hi!”, I recognize that Isaac is kind of a fool. The way he addresses that he is not looking to be in relationship is so out of the blue to the point where he comes off as a jerk. And if he is not a jerk, he is most certainly stupid. While Isaac is relatable, it is no surprise the script does not always take his side. That said, it is also easy to root for him, especially considering he is tied to a bed for much of the runtime. The movie even points out despite Iris’ best intentions, she is technically kidnapping Isaac. His character is a solid representation of someone who would prefer to keep things casual, and is possibly afraid of taking things to the next level.

Overall, the relationship between Iris and Isaac is beautifully complex. The two seem to like each other and happen to be cute together. But they seem to have different goals in mind. One is in it for the romance, the other seems to be enjoying a short-lived fling. The film may as well be hinting that Isaac cares more about sex than anything else. The two seem to have failed to communicate their wants and needs before taking things further, therefore leading to the movie’s main incident. Either that, or it is possible that Isaac did what he could to impress Iris just to get into bed with her. The movie leaves a little room for interpretation and I appreciate that. If anything that matches the real-life complication of relationships.

Again, the end of this film is fantastic. I think a number of you could predict what happens towards the conclusion as the movie goes along, but it feels earned. The moments leading up to it are sometimes goofy, even for a romantic comedy like this one. But I can forgive it somewhat. If you are looking for a super funny film to watch with a great lead couple, then give “Oh, Hi!” a chance. It deserves some love.

In the end, “Oh, Hi!” came out of nowhere for me, but I ended up loving it. It is a romcom that is by no means disposable. It is a film that made me laugh, and then think. “Oh, Hi!” features an incredible cast of characters, well-written dialogue, and an ending that is truly satisfying. Romcoms are not my genre, but this one in particular stands out to me. I am going to give “Oh, Hi!” an 8/10.

“Oh, Hi!” 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 “Weapons.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Freakier Friday,” “Nobody 2,” and “Honey Don’t!”. 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 “Oh, Hi!”? What did you think about it? Or, what is a movie you really enjoyed from a genre you typically could not give two craps about? Let me know down below! Scene Before is your click to the flicks!

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

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

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

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

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

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

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

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

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

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

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

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

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

I’m Still Here (2024): Fernanda Torres Carries This Moving Drama

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“I’m Still Here” is directed by Walter Salles (Central Station, The Motorcycle Diaries) and stars Fernanda Torres (Love Me Forever or Never, The House of Sand), Selton Mello (A Dog’s Will, Lisbela and the Prisoner), and Fernanda Montenegro (Sweet Mother, Central Station). This film is based on a memoir of the same name and is about a mother who deals with the forced disappearance of her husband, former politician Rubens Paiva, who opposed Brazil’s military dictatorship.

In an effort to catch all of this year’s Best Picture nominees before the Oscars, I had to find a way to check “I’m Still Here” off my list. One key difference when it comes to this nominee in particular compared to say “Anora” or “Wicked” or “Dune: Part Two” is that I went into this film knowing nothing about it. All that I really knew was that it was a Brazilian movie, the characters speak Portuguese, and it was getting a lot of critical acclaim. I went in completely blind, having barely come across as much as a poster. Safe to say, I did not know what to expect.

Thankfully, I came out of this movie feeling satisfied.

“I’m Still Here” is not an easy watch. Some of my audience might think I say such a thing because this is a film not made in the United States or a film where English is not the primary language used in the dialogue.. That is not my point. Though I can see why those two things could turn some people off upon a first impression. Instead, this film deals with a serious subject matter that I imagine would be tough for some viewers. The film is dramatic, yet grounded at the same time. It is perfectly balanced in its attempt to be both an inviting slice of life story and an engaging political thriller. The film is like life itself. It has its happy moments. It has its sad moments. And in the long run, it is worth seeking out.

One of my favorite things about this film is how it handles the importance of family, especially when you consider the protagonist’s point of view, as well as the many obstacles she must face just to be with them, or do what is best for them. We see her trying to protect them under their respective political landscape, as well as do anything and everything she can to uncover her husband’s whereabouts. The film shows what it means to stay connected even in the darkest of times.

The family itself is well written and decently cast. There is not a single person on the lineup I found to be out of place, and I thought everyone’s personality shone through. Honestly, the entire cast of the film serves their purpose and does a good job. I cannot name a bad apple on the tree. But Fernanda Torres is on another level with her performance here.

There is a reason why Fernanda Torres was nominated for an Academy Award. She is the film’s soul and I cannot see anyone else playing her. Every moment, every line, every facial expression, she sold me. Torres is commanding in every scene. The movie gives her a lot to do and she handles all of her material very well. I have been doing some research online to see what everyone is saying about this film, and just about every other person I am coming across is losing their mind over Torres. I may not be adding anything new to the conversation that has not already been said, but she is easily the best part of the movie.

This film is based on true events. On that note, the story features real life politician Rubens Paiva (left). I do not know a ton about the real events that inspired this film, but I did some research on Paiva following the film and I have to say kudos to whoever cast Selton Mello, because he looks the part. Granted, acting ability is arguably more important, and thankfully, he has that in spades.

One of the reasons why I have come to realize “I’m Still Here” has some of the best collective acting in 2024 cinema is likely because of the way the film was shot. If you know how movie productions tend to work, not every project is shot in chronological order. “I’m Still Here” is an exception to the rule. I think this move paid off, because it allowed the talent to experience the sense of immersion in their story that viewers like I did while watching it unfold.

On that note, “I’m Still Here” is quite an immersive movie. “I’m Still Here” has more in common with a slice of life tale than a large scale epic, but the movie sometimes feels as large as life itself. Whether I was at a family gathering, the beach, or the inside of a home, I felt like I was a part of this film’s world. Such a sentiment is also true for a prison, which does not emit the most pleasant feeling, but every scene in this film, like it or not, had a sense of verisimilitude. The film takes time to showcase the beauty of life, but also keeps things real by reminding people of the extreme obstacles our characters constantly encounter.

At times, this movie is the definition of the idea that life goes on. An integral part of your life may cease to exist, but as long as you are still around, it is up to you to decide how to navigate things going forward. You could remember your past, run from it, choose to reinvent yourself. Sometimes that integral part may leave you in a literal sense, but deep down, it will always be with you.

The movie ends on a satisfying note. The final scene is exquisitely acted and well directed. It also goes to show the power of silence. Filmmaking is a visual medium, and any opportunity that can be taken to let the visuals do the talking allows for great scenes like this one. I will leave the details undisclosed for now and let you see the proper craftsmanship for yourself.

In the end, “I’m Still Here” was kind of a last minute purchase for me. I probably would not have seen this film if it were not for the word of mouth it racked up during this awards season. And I am happy to have added to it. This film is full of great performances, gripping scenes, and solid chemistry amongst its cast. Of course, Fernanda Torres is the standout, but the supporting actors also add quite a bit to the final product. It is not an easy watch, but I think if you can handle the material, this movie could be worth your time. I am going to give “I’m Still Here” a 7/10.

“I’m Still Here” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! I have reviews on the way for “Riff Raff,” “Nickel Boys,” “Mickey 17,” and “Locked.” Stay tuned!

And coming on March 30th, look forward to the 7th Annual Jack Awards! The most important awards show in the history of movie blogs! Why? Because I said so! This is a reminder that you have the power to vote for this year’s Best Picture! You can do so by clicking this link and choosing one of the ten nominees. And click this link if you want to know what films are nominated for this year’s ceremony! Unfortunately, “I’m Still Here” was not nominated for any awards this year, but if I were to add a sixth candidate for Best Actress, Fernanda Torres would probably earn that spot. It was a very close call. But rules are rules. I did see this movie before announcing the nominations last week, but Torres’ honestly goes to show how great acting has been across the board for several performers over the past year. If you want to see this upcoming show and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “I’m Still Here?” What did you think about it? Or, what is the saddest film you saw in the past year? Let me know down below! Scene Before is your click to the flicks!

Daddio (2024): Dakota Johnson and Sean Penn Share Bumps in the Road in This Simple, but Unpredictable Ride

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“Daddio” is written and directed by Christy Hall and this is her feature film debut as both a writer and a director. This film stars Dakota Johnson (Fifty Shades of Grey, The High Note) and Sean Penn (Fast Times at Ridgemont High, Mystic River) in a film showcasing a cab ride from John F. Kennedy International Airport to midtown Manhattan where two people have deep and honest conversations about their lives.

Before we go any further, for those keeping track, much like how “The Beekeeper” and “Thelma” are two revenge flicks I saw this year showing how people deal with scammers, “Daddio” just so happens to be the second example of a film primarily about two people in a cab ride. The first one, for the record, just so happens to be the French film “Driving Madeleine.” Coincidentally, I reviewed that film right after one of those revenge flicks, “The Beekeeper.” And guess what my last review was before doing this film? “Thelma!” That’s what! How poetic indeed!

With that digression out of the way, “Daddio” snuck up on me last minute. Particularly when I watched an interview with Dakota Johnson on “Jimmy Kimmel Live!” last month. This is not the first time this has happened. I remember watching “Four Good Days,” which is an excellent film by the way, mainly because I watched Mila Kunis being interviewed on “The Late Show with Stephen Colbert.” It is nice to know how effectively these kinds of interviews double as both fun conversations and marketing tools. It works, so why fix it?

That said, interview tactics or not, Dakota Johnson very much needed something to get moviegoers back on her good side. On top of being the lead in the “Fifty Shades” films, which assumedly has its audience, but also its fair share of critics, she also just led the pile of schlock known as “Madame Web,” which I think many would agree with me when I say it is one of the worst comic book films ever. It is a film that I said was somehow worse than “Morbius.” And amazingly, it is written by the same duo who wrote “Morbius.” Quite a hot streak, right?! Although if you ask me, Johnson has had her fair share of wins. “The Peanut Butter Falcon” and “The High Note” are two smaller, non-franchise films she did in recent years that I quite enjoyed. “Daddio” is another such example, but I would argue it is even tinier. Because while it is set in various parts of the New York metro area, the whole movie basically takes place in a car. And it is primarily between two characters, at least two characters whose faces we see.

Thankfully, these two characters are well written, concrete, and play off each other beautifully for the film’s entire runtime. I have seen my fair share of road adventure films where we have multiple characters in the car who cannot quite connect the dots to make the ride entertaining for me as a viewer. This film, I would not exactly classify as “entertainment.” Again, it is quite deep and gets you thinking, but my eyes and ears were open whenever the ride was going down so it is technically accurate to say I was quite entertained from start to finish. I was invested in these two’s conversations, Johnson’s uses of her phone, and the little obstacles these two come across as they made their way through the route.

You ever go on the road expecting a typical ride only to find something completely unexpected? I certainly have. Anything from massive traffic to endless road closures to finding random piles of debris in the middle of the road… These have all happened to me at some point in my life. And this movie reminded me of times when I would have those obstacles come my way. Granted, there is an obstacle this movie presents that I cannot really compare to anything I’ve personally encountered. It is something much bigger, perhaps unexpected. But it fascinating to see how these two react to and deal with such a thing in the moment.

One of the things I love about this movie is how it shows the layers of humanity. It shows that there is more to people than meets the eye. When you get a look at someone in your life, or maybe when you talk to someone you’ve never talked to before, you will garner an interpretation or image of that person. This movie shows that what you may think a person could be, while possibly true, is not entirely who they are. Or in some cases, that image you have of a person may not even be true in the slightest. Whether it is an image we make up ourselves or an image we hear from them. Regardless of how true or false the images are amongst our two main characters, I was thoroughly captivated by both of them. I loved getting to know Dakota Johnson’s character, Girlie, from the dialogue and what we see from her on her on her phone. Sean Penn does a really good job encapsulating a man who very much resembles an individual who has seen it all. After all, we find out he has been a cab driver for a long time, he does not have time or motivation for the apps like Uber and Lyft. He’s old school. He is someone who’s simply tired of the way the world’s shifting.

Some of my favorite movies do a good job at taking the ordinary, whether it is a character, a place, or an everyday situation, and turns them into something extraordinary. I sometimes look back at one of my favorite films at 2021, “CODA,” and find myself marveled with how its protagonist’s normality would be seen as abnormal by so many other people. In a different sense, “Daddio” takes one of the most everyday things, a drive, something that just so happens to be in the entire film, by the way, and adds quite a bit to it to make the journey something that stands out a lot more than a simple commute. Things that make the ride interesting, or compelling. Each obstacle had my attention. Each conversation had my investment. Each little thing we learn about these two characters kept my chin up. It is hard to know if a movie like “Daddio” is going to be for everyone. If some of you asked me to explain what this movie is about, chances are you’d question how cinematic it really is. This film is very much about the human condition, the way we think, the way we interpret others. And if you are interested in a story about people, then maybe this film is for you. Frankly, I watched this film partially because I will admit, and I do not know if this reason has a ton of validity to it, I love New York. I thought it would be fun to see a commute from the airport to Manhattan. But this film, to my lack of surprise, delivers much more than that.

One last thing, if you saw “Madame Web” this year and questioned Dakota Johnson’s ability as an actor, I highly recommend you watch “Daddio” because I am convinced this movie will change your mind. Remember what I said earlier, “Madame Web” was written by the same people who wrote “Morbius.” Their track record is not the best. Johnson was not given the finest material, and it shows in the movie. It is like watching George Clooney in “Batman & Robin.” He has proven he can act both before and after that film. But there is much more to his lackluster performance in “Batman & Robin” than how he handles it. Here, Dakota Johnson is given a higher quality script, a deeper character, and a more compelling plot. And as a moviegoer, this movie gave me something too. Compared to “Madame Web,” “Daddio” gave me a greater investment of my time. And that is an investment that should never ever go to waste.

In the end, “Daddio” is a film that I am not sure that many of you reading this are going to see, but please do not let it slip by you. This film features two really good performances of well written characters. I wanted to know as much about these two as the movie would allow me to. The movie is the simplest of ideas, but it is done in such a way that makes for an incredibly engaging journey. Now, if I were to compare “Daddio” to another one I mentioned at the beginning, “Driving Madeleine,” I would probably say I would rather watch “Daddio” a second time before putting on “Driving Madeleine” again. And for those who ask, no, it is not because I am a simpleton who wants the characters in the movie to speak English. If anything, it is because “Daddio” does such a great job at fleshing out its leads and makes the most of every situation it presents. This is nothing against “Driving Madeleine.” In fact, if you have not seen that film, I would recommend it. Much like “Daddio,” “Driving Madeleine” is an effective showcase of what it means to be human. But if you asked me to pick between the two, and for all I know, this could be recency bias, I currently find “Daddio” to be more appealing. But if you were to watch either of these films, you would not be wasting your time. I am going to give “Daddio” an 8/10.

“Daddio” is now playing in theaters. Tickets are available now.

Thanks for reading this review! If you liked this review, I have more coming! Stay tuned for my thoughts on “A Quiet Place: Day One,” “MaXXXine,” “Twisters,” “Deadpool & Wolverine,” and “Kinds of Kindness.” 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 “Daddio?” What did you think about it? Or, what is the craziest car ride you’ve ever had? Tell me about it 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

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“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!

The Last Vermeer (2019): A Carefully Crafted, Yet Forgettable Portrait of an Artistic WWII Conspiracy

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“The Last Vermeer” is directed by Dan Friedkin, a producer of films including “The Mule,” “Hot Summer Nights,” and “All the Money in the World.” This film in particular is Friedkin’s directorial debut. It received positive reactions at festivals, and now it is getting a long-awaited theatrical release.

“The Last Vermeer” stars Guy Pearce (Memento, Iron Man 3) and Claes Bang (The Girl in the Spider’s Web, The Square) in a story about an artist who is suspected of selling a valuable painting to the Nazis during World War II.

Going into this movie, this was a rare case where I was fairly blind in regard to the goings on. I did watch a trailer prior to leaving my house, and I do think I have caught said trailer at the theater once or twice during other presentations. But this is a film that I went into knowing very little. One of the questions I am constantly asking myself as I type this review is how vague I should be in regard to my overall thoughts. I will do my best to give a summary of my experience.

Let’s start with the easy part. This movie kicks off and maintains a pace that does not feel quite satisfying. However, it is also a story that becomes more investing of my time and attention as it progresses. It has been some time since I watched this movie, but I would not be surprised if this goes down the route of say “Bloodshot,” which coincidentally also has Guy Pearce playing a character, to become one of my most forgotten movies of 2020. Although based on how it concludes, it is not all bad.

They say that bad endings can ruin good movies. Personally, that is a phrase that I have not continuously realized myself. Whenever I watch a good movie, it is usually consistent from start to finish. This year however, I will admit that I did catch one movie that started horribly but ended up being one of the most charming experiences I have sat through in recent memory. That movie by the way, is “Summerland,” starring Gemma Arterton, and it is available on DVD and for rent. While “The Last Vermeer” is not on the same level of “Summerland” in terms of quality for me, it plays out in a similar manner. “The Last Vermeer” starts off rather dull. In fact, as of writing this review, it has almost been a couple weeks since first experiencing “The Last Vermeer” and I almost barely even remember the beginning. Where it picks up is around the second half, because we get into the nitty gritty of the story and we get to witness quite the court case. Towards the end of the film, I was hooked, and it made this true event worth telling on the screen. The journey to get there however might end up being forgotten.

Let’s talk about Claes Bang (left). Claes Bang is not the most well known actor working today, but I want to emphasize him in this review partially because he’s one of the two leads, and this movie may signify a rabbit hole for the actor. One of the concerns I have for this movie is how it could outline Bang’s future. Claes Bang is not a bad actor by any means. I say this despite having only seen him in one other project aside from this one, specifically “The Burnt Orange Heresy.” Now, “The Burnt Orange Heresy” for those of you who do not know is a film about an art critic (Bang) recruited by a dealer to steal a painting. Now I do not know Claes Bang personally, and maybe he enjoys doing these art-centered movies, but I feel like if he continues having roles like the ones he’s getting, he could risk getting typecast in the future. Granted, we have examples of typecasting that work. Samuel L. Jackson often gets cast in roles that encourage him to shout the word “motherf*cker” so all the people of Uranus can hear it. Maybe I am overreacting, but as solid of an actor I think Claes Bang is, I think it would be interesting to see him take in another type of project. Yes, he’s done stuff like “The Girl in the Spider’s Web” in the past, and he’s even played Dracula in the BBC/Netflix series “Dracula.” I just wonder what Bang’s future holds because for all I know, it could continuously involve art movies. But if you want me to be frank about Bang’s performance in “The Last Vermeer,” I liked his character at times, I think he did a good job as his respective role, and he has great chemistry with Guy Pearce.

Speaking of Guy Pearce, I think the makeup and costuming department did a phenomenal job at making Pearce’s character jump off the screen. I have not seen all of Guy Pearce’s work, but I have witnessed some of it like “Memento,” “Iron Man 3,” and “Bedtime Stories.” This is not Guy Pearce, it is another… guy.

*rimshot*

Guy Pearce in this film feels less like Guy Pearce and more like an artist trying to pull of a lifelong Albert Einstein impression, and he does a pretty good job with it. Again, major props have to go to the costuming and makeup departments for pulling off how the character looks. Guy Pearce portrays the art dealer known as Han van Meegeren, and having searched for older photos of him, he looks the part. The Oscars, should they happen next year, is probably going to take place during April. We still have some time to determine whether this performance will hold up, but I would not mind seeing Pearce get an acting nomination.

Unfortunately, however, this movie is probably going to suffer from a lack of replay value, at least from me. It will probably get more than one watch from others, but this feels like a one and done flick, despite how there are some good things in it. But a barely investing beginning and exciting climax did not do it for me. I will say, this is a fascinating story, but I wonder if I would have had more fun researching it through Google as opposed to watching it in a film like this. This is Dan Friedkin’s directorial debut, so I am curious to see what he does in the future in regards to directing, but I just hope it has a greater oomph factor than “The Last Vermeer.”

In the end, “The Last Vermeer” is not half bad. You can watch it, but I would say there are better options out there if a theater is open near you. Go watch “Freaky.” Go watch “Honest Thief.” These may not be the best movies ever, but they are fun times. I liked “The Last Vermeer,” but I just wish it had a greater impact on me. Pearce and Bang are great actors and I would not mind seeing them collaborate on another project in the future, but I hope it is more investing than this one. I am going to give “The Last Vermeer” a 6/10.

“The Last Vermeer” is now playing exclusively in theaters wherever they are open.

Thanks for reading this review! I have some more reviews coming your way including for “Half Brothers,” now playing in theaters, and “Mank,” which is available in select cinemas and Netflix. I am also planning on watching “The Midnight Sky,” directed by George Clooney, which is now in theaters, but will be available on Netflix starting December 23rd. Also, I have obtained a pass to an online screening of STX’s upcoming film, “Greenland,” starring Gerard Butler. That film will be available on premium VOD starting December 18th, and I plan to have my review up sometime around the film’s release. If you want to see all this content and more, follow Scene Before either with an email or WordPress account, and give my Facebook page a like! I want to know, did you see “The Last Vermeer?” What did you think about it? Or, what is your favorite example of typecasting? Let me know down below! Scene Before is your click to the flicks!

The Burnt Orange Heresy (2019): Portrait with Orange on Fire

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“The Burnt Orange Heresy” is directed by Giuseppe Capotondi (Berlin Station, The Double Hour) and stars Claes Bang (The Girl in the Spider’s Web, The Square), Elizabeth Debicki (The Great Gatsby, Everest), Mick Jagger (Being Mick, Running Out of Luck), and Donald Sutherland (The Hunger Games, Pride & Prejudice). This film revolves around an eccentric, mysterious art critic by the name of James Figueras who is hired to steal a rare painting. As the movie moves along, he becomes greedier by the second. Simultaneously, he is romantically involved with a woman named Berenice Hollis.

Oh yay! Another movie that we can see in theaters! 2020 is turning around!

…Sort of. Not really. It’s still a crapfest all around and we just have to live with that! Boohoo.

“The Burnt Orange Heresy,” much like a lot of other movies I have seen so far this year, is a film that I really did not know much about going into it. All I really knew about the film is what I’ve read regarding it on IMDb and one or two other sites. I knew it got some attention already through festivals. Apparently, based on how IMDb lists the film as being released on March 6th, 2020 in the U.S., this thing has been theatrically released already. In fact, its distributor, Sony Pictures Classics decided that they’d hold onto the film and avoid putting it on VOD despite how many other films at the time such as “The Hunt,” “Bloodshot,” and “Onward” were going in such a direction. As of today, “The Burnt Orange Heresy” is a film that can ONLY be watched in theaters. As for when it will hit stores and digital services remains a mystery to me.

Walking out of “The Burnt Orange Heresy,” I cannot say I’m disappointed. Partially because as mentioned, I did not know much about the film going into it. All I really gathered regarding it was the basic gist and concept. “The Burnt Orange Heresy” is a sensual, mysterious flick, which kind of makes sense as it does take place in Italy, which from my experience is an often romanticized country. In fact, let me just say, I am not dating anybody. Now that we are in the middle of a pandemic where everyone is supposed to socially distance from each other, I don’t really think I should be dating anybody, but I thought that if you are in the right mood, this could be an alright pick for a date movie. Granted, this movie is also not for everyone, as it does feel fairly artsy. Almost in the high-brow category if you will. Then again, this is a movie heavily involving art and someone trying to steal a rare painting, so it kind of adds up.

I really think the best part of the movie is the chemistry between the main romantic couple, specifically played by Claes Bang and Elizabeth Debicki. Their chemistry is some of the best I have seen in recent memory in regards to a relationship. Every one of their actions, even if it goes to a point of slight exaggeration, felt kind of raw. Again, this is kind of a sensual movie during a few bits and pieces, even if that is not what it is trying to present itself as in the long run.

Also, gotta admit, Elizabeth Debicki may be a new celebrity crush of mine, and based on her acting chops, I cannot wait to see her smash the role she’s got in “Tenet!”

*teary-eyed* PLEASE COME OUT ALREADY.

I also liked the main character himself, again, played by Claes Bang, an actor who I am admittedly not familiar with at all. This movie starts off with a pretty sharply edited opening scene where Claes Bang’s character, James Figueras, is on his exercise bike in his private quarters, but simultaneously, he’s lecturing to an audience about a painting. To save some of the mystery from you, the people reading this… I will not go into much detail about the scene itself, but it is a great way to not only start the film, but get a sense of our main character’s personality. What’s he like? What does he do? What are his mannerisms? Just in the first five to ten minutes of this film, I felt like I’ve already gathered a terrific sense of who exactly this character could be, or who he is trying to be. He’s mysterious, he’s quirky, I kind of wanted to know more about him. Sure, maybe on the surface he kind of looks like the dad from “Modern Family,” but as far as his traits and personality go, that is something that I wanted to be somewhat unraveled as we go along.

As I watched “The Burnt Orange Heresy,” it reminded me of one thing more than anything else. That my friends, is “Life Lessons,” the short film directed by Martin Scorcese as part of the “New York Stories” set. For those of you who don’t know what that is, “Life Lessons” is a film about an eccentric painter, who lives with his assistant as their relationship begins to spiral down the drain. Granted, the relationship seems to be working a lot better for both sides in “The Burnt Orange Heresy,” but I would not be lying if I told you that I did not make such a connection with these two films. Both of these films feel fairly dramatic, romantic, and occasionally a little bumpy. I will say, and this is somewhat forgiven as “The Burnt Orange Heresy” is a feature and “Life Lessons” is a short, but “The Burnt Orange Heresy” feels a bit on the slower side compared to “Life Lessons.” Without spoilers, the way certain events play out in both these films feels like they are a couple with their differences, but nevertheless happy to be together.

I said this once, I’ll say it again, this film is not for everyone. This film is almost on the verge of being kind of eccentric, and some will find it pretentious or high brow. But for me, I enjoyed myself. It is a film that I probably will not end up watching every day, but if I were to have it on, I would most likely not use it just as background noise. I also think that when it comes to how this film is edited overall, it is one of the finer editing jobs I have seen this year. A lot of the scenes are interwoven nicely and nothing really feels out of place. I’d give this film a thumbs up.

In the end, “The Burnt Orange Heresy,” despite what I just said about probably not wanting to watch it every day, is a film that I’d probably check out a second time because it has a vibe that feels cleansing and smooth to the brain. Plus, despite being an hour and thirty-nine minutes, there may be one or two things that I missed on the first viewing that I may want to pick up again. Maybe the dialogue went over my head or something, I don’t know. Nevertheless, this is good enough for a repeat viewing. I’m going to give “The Burnt Orange Heresy” a 7/10.

Thanks for reading this review! I just want to let everyone know that I have a few new Blu-rays lying around for possible reviews, but HBO Max has just released an original film starring Seth Rogen by the name of “An American Pickle.” If I get the chance, I might just talk about that for an upcoming review, but who knows? Anything can happen in 2020. Be sure to follow Scene Before either with an email or WordPress account so you can stay tuned for more great content! Also, check out the official Scene Before Facebook page! I want to know, did you see “The Burnt Orange Heresy?” What did you think about it? Or, what is your favorite movie set in Italy? Let me know down below! Scene Before is your click to the flicks!