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The Breadwinner (2026): An Unfunny Comedy That Really Wants You to Buy a Toyota and Watch Shark Tank

Posted on by Jack Drees

“The Breadwinner” is directed by Eric Appel (Die Hart, Weird: The Al Yankovic Story) and stars Nate Bargatze (Your Friend, Nate Bargatze, Nate Bargatze: Hello World), Mandy Moore (Tangled, This Is Us), Colin Jost (Saturday Night Live, Tom & Jerry), Zach Cherry (Fallout, Severance), Martin Herlihy (Saturday Night Live, The Running Man), Kumail Nanjiani (The Big Sick, Eternals). and Will Forte (Scoob!, The Last Man on Earth). This film is about a dad living in the suburbs who must adapt to a stay-at-home parent lifestyle when his wife gets the opportunity of a lifetime to take her invention to the next level.

I love comedy. I think the world is a better place for having it. Sadly, comedy films are at a bit of a low point. This is not to say that they are dead, there have been wins here and there, but the comedy genre does not feel the same as it did pre-COVID. Part of this may be because a lot of mainstream comedies are finding their way onto streaming services. While some viewers may not care, it kind of turns me off, and makes me think that the people who made the movie do not have much faith in it.

So, when I found out that “The Breadwinner” was going to be a theatrical release, I was pleased. Well, sort of. Because the trailers, while not the worst I have ever seen, did not look fantastic. I cannot say I outright laughed at anything the trailers had to offer.

But you know what? Maybe this is a blessing in disguise. Perhaps “The Breadwinner” listened to me every time I watch a comedy trailer, see all the funny jokes, and complain that there is nothing else that happens to be funny when the film comes out. The good news is, there are moments of the film that I did not see in the marketing that made me laugh. Kumail Nanjiani plays a supporting character and he is easily the best part. He has the funniest lines and visual gags. If there is any reason to see this movie, it is him.

Beyond that, I cannot come up with another reason to check this project out. That is unless you want to watch an hour and a half commercial that technically qualifies as cinema.

I have seen Nate Bargatze do standup both through prerecorded specials and live events. He puts on a good show. While not my favorite comedian working today, I think he has a knack for family-friendly humor. The kind that you would expect to fly on an episode of “America’s Got Talent.” Given his success with the standup scene, I was wondering if Nate Bargatze would be able to bring something fresh to the comedy film genre. While the film does feel rather on brand for Bargatze’s standup persona, I think said persona is perhaps handled better on a stage rather than a screen.

“The Breadwinner” feels like an extended episode of “Everybody Loves Raymond,” and not a very good one. Nate Bargatze plays Nate Wilcox, the “average guy” character with a steady job. Mandy Moore plays Katie, a stay at home mom. They have three children and all live in the suburbs together. When Katie gets an opportunity to make something of herself outside the home, it throws Nate off and forces him into the stay-at-home dad role. For Nate, this goes about as well as you, and probably he, would expect. Speaking of things that did not go well, the jokes are more often misses than hits. At no point did the battleship sink. You can only have Nate Bargatze fall down so many times and expect it to be hilarious. The attempts at humor are not only unfunny, but a lot of them feel been there, done that, and in certain cases, done better.

This is a PG movie, and I did see some children at my screening. I would be curious to know how well this comedy is going to age for the younger viewers who check it out. But as a 26-year-old who has quite a few flicks under his belt, the jokes come off as too familiar and predictable for them to work.

This film sort of takes me back to when Happy Madison comedies dominated theatres. And by that I mean, the film reminded me of what I sometimes hated about those movies. This is a glorified, shameless, endless commercial.

Product placement and in-film advertising is nothing new. Also, this is a Sony movie, so this is most certainly nothing new for them. This film reminds me a lot of “The Emoji Movie,” which so incessantly flashes brands on the screen and even makes them interwoven so heavily into the plot to the point where part of the climax would not be possible if it were not for the Twitter bird mascot saving the heroes. With this being a Sony movie, of course, they decided to put in some tie-ins to their properties. There are a couple noticeable nods to “Jeopardy!” for example, that are frankly inoffensive.

But would anyone like to guess how the story moves forward when Katie decides to take her invention to the next level? She goes on “Shark Tank,” of course! Do not get me wrong. A lot of people would, realistically, kill to bring their product on that show for the chance of getting a deal. But I would be willing to bet five bucks that if this were not a Sony movie, “Shark Tank” would make no appearance in this flick whatsoever, as that is also a Sony show. Also, the scene is about as dumb as can be.

Are you seriously telling me that in regards to Katie’s invention, that Kevin O’Leary says he’s out because Nate walks onto the set while eating a donut and presenting himself as the antithesis of a fashion model? Would the real Kevin O’Leary do this? I don’t think so. Some of you might be saying, “Come on, it is a character, let him be.” Yeah, but judging by Nate Bargatze’s performance that lacks any and all transformation, I am not quite sure how much acting is really going on in this film. Not to digress, but the movie tries to present this whole gag where Nate becomes known as “the donut guy.” I understand the Internet can be odd and rude, but this has got to be one of the dumbest viral trends I have ever seen. Then again, I remember a time when portions of the Internet thought the Harlem Shake was cool, so there is that.

“Shark Tank” is not even the biggest culprit of this film’s neverending stream of commercialism. Because this movie really wants you to buy a Toyota. And frankly, it fails miserably. Not just because “The Breadwinner” is a terrible movie by itself, but also because if this were a genuine Toyota ad, I would question its messaging. My mom and I saw the film together, she liked it by the way. Upon discussing our difference in opinion, one of the first things I said to her as we left the cinema is that the film paints Toyota as an anti-family company. If anything, Toyota is the villain. Somebody give Nate Bargatze a Ford so he can go to town on a Toyota dealership!

Oh, and don’t forget to remind Nate Bargatze to take that Toyota to Walmart for some errands! And also don’t forget to tell the talent to take every other brand name cereal off the shelf to make sure everyone knows that is exactly what the family is buying! This movie cost $25 million to make, and I am sure most, if not entire the budget was paid for with this endless charade of brand bootlicking.

There is not much legitimate acting going in this movie, but based on the direction everyone is given, they fulfill the basic requirements of their roles. The women who play the Wilcox sisters, Stella Grace Fitzgerald, Birdie Borria, and Charlotte Ann Tucker, are sometimes adorable and play off the other characters well, even if some of their jokes feel like they are written for a Disney Channel original movie.

Going back to what I said about this film feeling like an extended “Everybody Loves Raymond” episode, the more I think about this film’s director’s background, I can see why. While Eric Appel has a lot of experience behind the scenes making material within the comedy genre, most of his material is TV-based. Even his more recent feature films did not get theatrically released. He directed “Weird: The Al Yankovic Story,” which is a Roku Original. Beyond that, some of his more recent projects include the “Die Hart” films on Prime Video, where Kevin Hart plays a version of himself. …Doesn’t he do that in every other movie he’s in too?

Plus, the writers of this film do not have much experience on the big screen either. In addition to starring in the film, Nate Bargatze also has a screenwriting credit. Upon looking at his IMDb, this is also Bargatze’s first acting credit in a feature film. The other writer, Dan Lagana, mostly has a TV background. The two also produce the film as well alongside Jeremy Latcham, a former Senior Vice President of Production and Development of Marvel Studios. So, you have all these minds coming together who for the most part, are not exactly known for feature filmmaking. I am not against these people giving filmmaking the old college try. But as for this try, it was a fail. These people got their start, but it was not the finest of beginnings. If anything, I am glad to see a studio put their money where their mouth is, which judging by this film’s content, their mouth was probably on a Toyota’s trunk fairly recently, and put a comedy in theaters. That is nice to see in this day and age. That said, this does feel like a comedy that was probably intended to go to streaming, but somehow wound up on the big screen.

In the end, “The Breadwinner” made me lose some brain cells. Nate Bargatze is a talented comedian, but I frankly think standup is where he is best. I am not sure how much of a future he is going to have as a movie star. I do not know if he is aiming to pursue more film roles, but if he does, I hope they are superior to what he has given here. The worst thing about this film is simply the fact that I did not find it funny. Yes, I emitted a chuckle here and there, and Kumail Nanjiani saves the film whenever he pops up on screen. But I was expecting more from someone who is killing it in the standup scene. Instead, “The Breadwinner” is essentially this year’s version of “Easter Sunday,” starring Jo Koy. It is a film that wastes the talent of a successful comedian, as well as my time. I am going to give “The Breadwinner” a 2/10.

“The Breadwinner” is now playing in theaters. Tickets are available now.

Thanks for reading this review! This Tuesday, July 14th, get ready to make it a “Blockbuster Night!” Or… Day, I do not care. Your choice. Either way, I say such a thing because the next episode of Movie Requests is going to feature Blockbuster Video owner Sandi Handing! She owns the Blockbuster Video in Bend, Oregon. That is the last one still open! I had the privilege of meeting Harding in November, when she requested I should watch a certain movie whose title will be revealed when the next episode of Movie Requests officially drops! You can catch the video on Tuesday July 14th on Flicknerd.com and YouTube! Make sure you subscribe to my channel! It may not give you superpowers, but it will make you super aware of when exactly this episode drops! And isn’t the power of knowledge the greatest thing of all?

My next review is going to be for “Disclosure Day!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Toy Story 5,” “Supergirl,” “Jackass: Best and Last,” “Obsession,” “Maddie’s Secret,” and “Gail Daughtry and the Celebrity Sex Pass.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Breadwinner?” What did you think about? Or, have you seen any of Nate Bargatze’s standup material? Look, I may have been harsh on this movie. Although Bargatze is not a comedic hack. He can put on a good show. I will look forward to his next standup special or upcoming gig in the New England area, but “The Breadwinner” was not for me. Ah well, can’t win ’em all. Scene Before is your click to the flicks!

Masters of the Universe (2026): Travis Knight Strikes Magic with His Latest Movie Based on Toys

Posted on by Jack Drees

“Masters of the Universe” is directed by Travis Knight (Kubo and the Two Strings, Bumblebee) and stars Nicholas Galitzine (The Sheep Detectives, Purple Hearts), Camila Mendes (Do Revenge, Riverdale), Alison Brie (The Disaster Artist, Together), James Purefoy (The Following, Pennyworth), Morena Baccarin (Greenland, Deadpool), Jóhannes Haukur Jóhannesson (Vikings: Valhalla, The Innocents), Kristen Wiig (Bridesmaids, Sausage Party), Jared Leto (Blade Runner 2049, Suicide Squad), and Idris Elba (Sonic the Hedgehog 2, Pacific Rim). This film is based on the Mattel franchise of the same name and follows Adam who is sent from his home planet of Eternia to Earth at a young age. When he grows up, he is tasked with returning a magical sword back to his home planet, which he must save from the evil Skeletor.

I am a “Masters of the Universe” novice. Partially because I would have no clue where to start. Well, sort of, as I started my relationship with the franchise weeks ago when I checked out Amazon MGM Studios’ “Masters of the Universe” in theaters. Yes, I knew certain characters from the franchise, and sometimes I would talk in Skeletor’s cartoony voice because I thought it sounded cool. But I was born in 1999. I was not watching He-Man when I was a child, I was watching “SpongeBob.”

Despite my lack of knowledge of “Masters of the Universe,” I was mildly impressed with some of the film’s marketing. Note that I said mildly. It looked a little more serious than I imagined the property to be, but I was open to seeing what the crew cooked up behind the scenes. I am glad to say I thought the crew delivered something delicious.

This film feels like a Saturday morning cartoon brought to the big screen. Or, perhaps a more meta version of a Saturday morning cartoon. There are one or two nods to how absurd some of the concepts of the property happen to be. The film is basically this year’s “Thor: Ragnarok.” I do not know if this is going to have the lasting appeal that “Thor: Ragnarok” would for some people, but nevertheless.

Interesting enough, “Masters of the Universe” tends to take a lot of notes from the Marvel playbook. It presents the origin story of Adam, who we later come to know as He-Man. In fact, much like Thor, a particular incident brings him down to earth. Though whereas Thor was brought down as a consequence for his foolishness, Adam was brought down so he could be safe. If anything, his arrival, and therefore extended time, on earth is similar to that of the title character of the “Sonic the Hedgehog” movies.

Nicholas Galitzine continues his hot streak of enjoyable films this year between this and another Amazon MGM project, “The Sheep Detectives.” Galitzine plays Adam, who despite being on earth for several years, has not fully embraced the planet. His connection to his planet’s lore is not exactly helping him in his work life, dating life, social life. It makes him look like a bit of a dork. He spends time looking for a sword, which also does not help. Galitzine serves as a convincing lead and brings a dose of fun to the final product.

Given how little “Masters of the Universe” has grossed so far against its $170-200 million budget, this movie continues the Jared Leto curse. I said this before, I will say it again. Jared Leto is a great actor, and I will stand by that notion until the day I die. Sure, he did not play my favorite Joker, but he commits 110% with just about every role he is given, even as the lead in “Morbius,” a movie so bad that Spider-Man could not swing in time to save it. If you had no idea that Jared Leto was in this film, then there is a chance that you could end up watching it from start to finish failing to realize Leto is in front of you by the end of it. Leto plays Skeletor, and as a result, we never end up seeing his face. Leto is given some of the film’s finest material. There is a moment early on where he is delivering a vicious monologue, and once he raises his fist, he just stands there in awkward silence trying to emphasize that he is done, which prompts Evil-Lyn (Alison Brie) to softly affirm her understanding. I laughed quite a bit.

Speaking of Evil-Lyn, I thought Alison Brie was well cast as the character. This film is essentially a Saturday morning cartoon brought to life, and if you have ever seen Brie in real life, you might notice how large her pupils are. I mean that as a compliment. She is adorable. That said, the large pupils really work in Brie’s favor for this role, as she is not given a ton of lines to work with, but her character does spend a lot of time churning up wacky facial expressions. I thought Brie could have been given a tad more to do, but from a non-verbal perspective, I thought she did a great job with the character.

Daniel Pemberton composed the score for the film, which delights me to no end as he is quickly becoming one of my favorite composers between the “Spider-Verse” films and more recently, “Project Hail Mary.” Nearly every track feels larger than life. The real highlight of the music though is Brian May. Yes, the one from Queen, who dropped in some satisfying guitar solos.

This film is directed by Travis Knight, and overall, I thought he did a decent job at presenting a fun story with a balanced pace, despite a longer runtime. The film is 2 hours and 20 minutes long, but never once does it feel long. It is never boring.

This film is not doing so hot financially. About a month into its release, it has yet to make its budget back. Not a lot of people are checking it out in the theatre. But when it comes to those who did check it out, a majority of the reactions seem to be positive. Granted, overall, they seem to lean into mixed territory, but more people seem to like this movie compared to those who do not. This should not be surprising as Travis Knight seems to have a knack for bringing toy staples to the big screen. In 2018, Knight directed the “Transformers” spinoff “Bumblebee.” I personally think “Masters of the Universe” is a bit of a step down from “Bumblebee.” I think there is a little more humanity and wonder in “Bumblebee.” “Masters of the Universe” most certainly has those two elements, but not quite to the same degree. Even so, Knight does a great job at bringing Eternia to life and bringing things down to Earth precisely when he means to.

Also, if you check this movie out, be sure to stay for the credits. There’s bonus material as soon as the credits roll, in the middle, and at the end. You’re welcome.

In the end, “Masters of the Universe” is not the best movie I have seen this year. But if you are looking for something that could put a smile on your face that delivers on humor and action, this movie gets the job done. One note of caution for families… Even though is based on toys, part of me questions exactly how family-friendly this movie is. Granted, it is PG-13. So, not every child is likely going to be able to watch it right away. That rating is not unusual as the Michael Bay “Transformers” movies were also based on toys for example. Those were all PG-13. I watched those movies as a kid and turned out fine. But there is a running gag about “fisting” that makes me wonder if someone of a younger age could end up watching this movie and say something in public that maybe they should not be saying. Just something to keep in mind. Granted, I laughed myself silly whenever that gag played out. Does this movie make me want to explore more of the “Masters of the Universe” lore? I am not entirely sure. Perhaps if a sequel comes out, I will be there. I had fun with this movie. But if I am bored one day, I definitely have a greater chance of diving down a rabbit hole than I did before. The movie has a solid cast with some big names, a talented director, and despite feeling a bit paint by numbers at times, I found myself quite entertained. I am going to give “Masters of the Universe” a 7/10.

“Masters of the Universe” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! As a reminder, be sure to check out my latest episode of Movie Requests, featuring comedian and television host Chris Hardwick! He requested I should watch “Real Genius,” starring Val Kilmer. To hear my thoughts on the movie, click the video above and check it out! Also, if you want to see new episodes in the fastest way possible, do yourself and I a favor by subscribing to my YouTube channel!

My next review is going to be for “Another World.” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Breadwinner,” “Disclosure Day,” “Toy Story 5,” “Supergirl,” and “Jackass: Best and Last.” 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 “Masters of the Universe?” What did you think about it? Or, since we are on the topics of Travis Knight and movies based on toys, has anyone here seen “Bumblebee?” What are your thoughts on it? And if you have not seen it, please leave this post and go watch it. You will thank me once it is over. Scene Before is your click to the flicks!

The Sheep Detectives (2026): A Flocking Brilliant Family Film

Posted on by Jack Drees

“The Sheep Detectives” is directed by Kyle Balda (Minions, Despicable Me 3) and stars Hugh Jackman (X-Men, Real Steel), Nicholas Braun (Zola, Succession), Nicholas Galitzine (Red White & Royal Blue, Cinderella), Molly Gordon (Oh, Hi!, Shiva Baby), Julia Louis-Dreyfus (Seinfeld, Onward), Bryan Cranston (Godzilla, Breaking Bad), Chris O’Dowd (Bridesmaids, The IT Crowd), Regina Hall (Little, Think Like a Man), Patrick Stewart (Star Trek: The Next Generation, American Dad!), Bella Ramsey (Game of Thrones, The Last of Us), Brett Goldstein (The Garfield Movie, Ted Lasso), Hong Chau (Downsizing, The Menu), and Emma Thompson (Saving Mr. Banks, Sense and Sensibility). Based on Leonie Swann’s 2005 novel “Three Bags Full,” this film is about a flock of sheep who try to solve the murder of shepherd (Jackman).

© The sheep detectives

“The Sheep Detectives” had me at Hugh Jackman. Then they showed what his character does, and I refused to miss this movie. That said, for those unfamiliar with the material, do not be fooled, Hugh Jackman’s involvement in “The Sheep Detectives” is minimal, and I knew that, but his presence left me with a solid first impression through what I thought would be a fun family film.

One pleasant surprise about this movie is that it was written by Craig Mazin, whose resume has been… Fascinating to say the least. While I am a little bitter that he is partially responsible for bringing both “Hangover” sequels to life, I will give him credit where it is due, as he is recognized for his success in recent years with HBO. Not only did he write the acclaimed mini-series “Chernobyl,” but he is also involved with “The Last of Us,” which has received rave reviews since its launch in 2023. Mazin knows his stuff.

“The Sheep Detectives” looked moderately funny and charming from the trailers. But color me amazed, because I adore this movie.

Amazon is on a roll right now movie-wise. After releasing “Project Hail Mary” last March, which stands as the best film I have watched in years, “The Sheep Detectives” comes in hot with an experience that is not quite as memorable as “Project Hail Mary,” but much like that movie, I was left with the urge to give this movie a second viewing sometime in the future. Upon watching it, I have talked with family members who heard about the film. One in particular thought it looked stupid. I frankly think they are underestimating what this film is capable of.

After seeing the asinine chore that is “Animal Farm,” it is so fulfilling to see a movie that has fantastic humor. Repeated gags that work and pay off. Memorable and sometimes unpredictable lines. A complete twist on “the chicken crossing the road.” This movie excels when it comes to comedy, and it is perfect for all ages.

“The Sheep Detectives” sort of plays like a more exaggerated Pixar movie. Saying that sounds ironic. After all, “The Sheep Detectives” is live-action, whereas Pixar specializes in animation. But some of the characters, and by that I mean human characters, come off like they belong in a cartoon. When you are making something in live-action, you can only heighten reality to a certain extent, but for whatever reason, this movie sticks the landing in that regard.

© The sheep detectives

This is most evident when showcasing one of the film’s more notable supporting characters, Tim Derry (Nicholas Braun), a local policeman who might as well be this universe’s Jar Jar Binks. Although unlike Jar Jar Binks, I thought this character was well written and executed. Derry is not exactly the brightest of bulbs. But it does not mean he isn’t determined to get the job done. To say he is not good at his job is a bit of an exaggeration. In fact, going back to Pixar, his character almost reminds me of Linguini in “Ratatoullie,” who has no business working in his particular field, but allows unusual outside forces to help them improve at their job.

But it is not just the humans who fascinate throughout the movie. The sheep do their part to bring some solid characterization to the table. One of my favorites in the film is Sebastian (Bryan Cranston). The film takes time to unveil Sebastian’s backstory, where he spent time at a petting zoo. The backstory not only deepens the character, but delivers an emotional reaction. Cranston is not the only big name that makes up the film’s talented voice cast. Other actors include Julia Louis-Dreyfus, Patrick Stewart, Regina Hall, and Brett Goldstein. That last actor, by the way, voices two sheep, and they are responsible for one of the movie’s most memorable jokes.

This film also taps into how sheep interpret the afterlife, and the film gets creative with that idea. Sort of similar to how some people see themselves going to a better place when they die, the sheep believe that when one of their kind dies, they become a cloud. This is well explained during a giant rainstorm, when one of them says that the sheep are dancing when thunder sounds off.

The film does require a bit of suspension of disbelief. This should not be a surprise when the main characters include talking sheep, but the movie makes me believe in its rules and characters, even if they sometimes come off as unusual. The movie’s characters essentially go against mankind’s typical expectations of sheep. In fact, the characters even address how the “term” sheep is often used as a negative when used to describe certain people.

There are certain parts of this movie that I saw coming. However, I did not necessarily find myself peeved by this film’s occasional predictability. Just about every moment in this movie feels earned. By the time we get to the very end of this film, I felt satisfied with what it had to offer.

What is somewhat out of the ordinary regarding this film is its tone that could have easily clashed, but ends up working. This is a murder mystery, but beyond that, it is a movie about the beauty of life. It is about friendship, community, and appreciating what’s in front of you. The movie perfectly shifts its vibe when it needs to. At one point, it is mysterious and somewhat dark. At another, it is lighthearted and fun. Sometimes it successfully finds a middle ground.

I feel like I was one of the few people in the world who was genuinely looking forward to “The Sheep Detectives.” It is a premise that sounds silly, but I do not particularly mind silly as long as it works, and in this movie’s case, it ended up doing more than just working. I will be thinking about my experience watching this film for a long time. This film came out the same weekend as “Mortal Kombat II,” which I said I would watch again in my review. I would do the same for “The Sheep Detectives.” While I am eager to watch “Mortal Kombat II” by myself so I can laugh myself to death without sounding like a lunatic, “The Sheep Detectives” is a movie that I am just as hopeful to watch with somebody else just to see the look on their face once they realize what they are in for. Please watch this movie. Get some friends or loved ones to watch it with you. If you have kids, check this film out with them. It is a solid gateway murder mystery.

In the end, “The Sheep Detectives” is a stupendously satisfying and incredibly engaging film. Between this film and “Project Hail Mary,” I did not think Amazon would be cranking out the year’s two best pieces of cinema thus far, but here we are. While the film revolves around a murder, it is nevertheless delightfully wholesome. If Pixar started doing live action material, I would have been convinced this film had come from them. It feels like something in their DNA. This is a fantastic film for all ages. Give it a shot. It may surprise you. I am going to give “The Sheep Detectives” an 8/10.

“The Sheep Detectives” is now playing in theaters. Tickets are available now.

Thanks for reading this review! If you have not done so already, be sure to check out my latest episode of Movie Requests, the original web series dedicated to yours truly talking about movies recommended by some of your favorite stars. This newest episode features Brian O’Halloran, otherwise known as Dante from “Clerks.” I had a good time checking out his recommendation, “Patton.” Click the video above to see what I thought of it. Leave it a like if you enjoyed it!. And if you want to see more episodes as soon as they drop, be sure to subscribe to my YouTube channel!

My next review is going to be for “In the Grey!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Star Wars: The Mandalorian and Grogu,” “I Love Boosters,” “Backrooms,” “Masters of the Universe,” “Another World,” and “The Breadwinner.” Yep. That is a list of 7 movies. I clearly have time management skills. If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Sheep Detectives?” What did you think about it? Or, what is a film that you think is better than it deserves to be? Let me know down below! Scene Before is your click to the flicks!

GOAT (2026): A Traditional Sports Animation That Dribbles at a TikTok Pace

Posted on by Jack Drees

© 2025 – Sony Pictures

“GOAT” is directed by Tyree Dillihay (Bob’s Burgers, Good Times) and Adam Rosette (Harvey Girls Forever!, The Mr. Peabody and Sherman Show) and stars Caleb McLaughlin (Stranger Things, The Book of Clarence), Gabrielle Union (Think Like a Man, Bring it On), Aaron Pierre (Mufasa: The Lion King, Krypton), Nicola Coughlin (Derry Girls, Bridgerton), David Harbour (Stranger Things, Black Widow), Nick Kroll (Big Mouth, Sausage Party), Jenifer Lewis (Think Like a Man, Black-ish), Patton Oswalt (King of Queens, Young Adult), Jelly Roll, Jennifer Hudson (The Jennifer Hudson Show, Dreamgirls), Sherry Cola (Joy Ride, Shortcomings), Eduardo Franco (Stranger Things, Booksmith), Andrew Santino (The Disaster Artist, Mixology), Bobby Lee (Inside Job, Kickin’ It Old School), and Stephen Curry (Holey Moley, Mr. Throwback). This film is about a goat named Will Harris who gets the unique opportunity to follow his dreams and play roarball with much bigger, stronger, and faster animals.

When I think of the gold standard of animation, my mind tends to dart towards Pixar. As for Sony Pictures Animation’s place in this medium, I am kind of iffy about them. As much as the “Spider-Verse” movies are masterpieces, they also come from the studio that is responsible for “The Emoji Movie,” one of the most unforgivable abominations made by man. The quality is not the most consistent from one project to the next.

I was not exactly sure what to expect with “GOAT.” I had some idea, but not quite a full picture. The film certainly looked like it took some inspiration from “Spider-Verse’s” fast-paced animation style while also finding a way to bring its own personality to the table. That said, from what I saw through the marketing, this film looked cliche in more ways than one. Having seen the movie, I can definitely say it is cliche. Depending on how many movies you have seen, some of this film’s structure is going to feel quite familiar to you. A protagonist wants to be the best at something despite what the odds suggest and what other people have to say. I have said on this blog that cliches are fine as long as a project can effectively utilize them. Having made that point, I wish “GOAT” was a better movie.

This is not to say the movie is the worst I have ever seen. In fact, when it comes to establishing characters like the scrawny Will Harris (McLaughlin) and his much stronger mentor figure Jett Fillmore (Union). The movie takes time to give them a splendid dynamic that plays out perfectly on and off the court. Their connection unleashes some cliches, but they are, again, cliches that are handled decently. You have the young, eager student willing to learn from a wiser figure who is supposedly becoming more washed-up with each passing minute. It is a traditional storytelling method, but it works.

“GOAT” is very much a product of the 2020s. In some ways, it does a good job at shining a light on people’s weaknesses and problems that define the decade. There is one gag in the film involving a character who is way too attached to their phone. I could see a joke like this playing well with parents in the audience. That said, at my screening, the person next to me, who happened to be an adult, was on their phone numerous times. I wonder how they took this lesson.

By the way, if this has not been made clear already, please put your phone away at the movies. That said, I understand not everyone carries a watch nowadays, so I have no problem if you want to check the time as long as you do not go any further to wreck my time. Turn the brightness down. Peek in your pocket. Don’t flash it heavily for everyone to see! You got it? Good. Let’s move on.

While the movie positively defines the 2020s in some ways, it also manages to define it in less stellar ways. One of my biggest problems with this film is the pacing. Granted, the movie is all killer, no filler. It dives into each and every point without skipping a beat. But for a movie that is about basketball, part of me wishes I could have seen more of it. Thankfully, unlike another so-called sports movie that goes by the name of “Him,” which I reviewed last year, “GOAT” actually dedicates a lot of time to its focal sport. That said, part of me wishes we could have spent a little extra time on the games. I am not saying that we need to see all 48 minutes of the film’s players running up and down the court, but by the time the film gets to the big game at the end, it feels much smaller in scale than it should be. It feels rushed. It feels like it wants to end before it starts. The film literally breezes through its first couple of quarters of the climactic game in about as much time as it would take me to swipe through a few YouTube shorts. There are some occasionally thrilling moments in these games, but they would probably be more exciting if the movie drew things out. “GOAT” tells a lot in a 100 minutes. I just wish I had the chance to digest the material a little more.

One reason why I tend to favor stories told by studios like Pixar is that unlike Sony, their films feel a lot less commercialized. Sure, “Toy Story” uses a lot of real life toys, “Cars” uses real life vehicles, and “Wall-E” has ties to “Hello, Dolly” and Apple. Yet those projects feel like stories rather than extended advertisements. Even in some of Sony’s better animated productions, I always notice they find a way to sneak in a commercial for one of their products. When it comes to product placement, “GOAT” is utterly shameless. The movie spends quite a bit of time showing off the PS5, creates its own 2K sports games based on roarball, makes the card game Uno a core concept of the plot, and even spends quite a bit of time featuring Doordash.

Just because this movie feels commercialized, does not mean it lacks creativity. Instead of basketball, the movie features the sport of roarball. Like basketball, it features players going up and down a court trying to put a ball through a hoop. The two sports have their differences. We do not see humans playing roarball and rather tons of different animals taking up the sport. The universe within “GOAT” seems to have a similar layout to “Zootopia” as there are no humans.

But above all, I find the roarball courts to be more interesting than anything else the sport has to offer. If you ever go to an NBA game, you would notice that each arena has its own individual quirks and home teams, but each court follows a similar structure to the next. The courts that we see through this film’s professional league sort of play like a video game. There are moments where characters have to make their way through rising surfaces, ice, fire, and so on. Honestly, if Nintendo wants to make a “Mario Basketball” game sometime soon, I think this movie would be a solid piece of inspiration.

In the end, “GOAT” is not the greatest flick. It has glimmers of goodness. Although those glimmers are rather thin. The voice cast is pretty talented and bring a lot to the table. Despite clearly being similar to basketball, the concept of roarball has sparks of creativity. While there are a couple decent moments, most of the scenes in this film feel so rushed to the point where I cannot fully appreciate the characters within them. Also, the product placement feels kind of over the top, especially considering this film is animated. As someone who is in his 20s, I sometimes think about what would happen if I had kids and I took them this movie. I think they would have a fun time with it, and for all I know it could age somewhat decently for them, but I do not know if it is going to age like a fine wine. Time will tell. As for this 26 year old loser, I think “GOAT” is a one and done for me. I am going to give “GOAT a 5/10.

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

Thanks for reading this review! My next review is going to be for “EPiC: Elvis Presley in Concert!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Send Help” and “The Bride!”. Also, this is my first film review I have published since Scene Before officially turned 10 years old. I want to thank everyone who has wasted their time reading my above average material over the past ten years.

If you want to see a video-based film review I have done, check out the first episode of Movie Requests, where I discuss Lars von Trier’s film “The Idiots,” as requested by actress Bryce Dallas Howard. It is available now on my YouTube channel, and you should absolutely positively subscribe!

If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “GOAT?” What did you think about it? Or, what an animated sports film you enjoy? Sticking with the topic of basketball, you should totally check out my review for “The First Slam Dunk.” It is a great movie, give it a watch. Scene Before is your click to the flicks!

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

Posted on by Jack Drees

© 2025 – Amazon MGM Studios

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scarlet (2025): Revenge is a Dish Best Served in the Afterlife

Posted on by Jack Drees

“Scarlet” is directed by Mamoru Hosoda (Belle, Mirai) and stars Mana Ashida (Pacific Rim, Mother), Masaki Okada (Drive My Car, Confessions), and Koji Yakusho (Babel, Perfect Days). In this film, the titular princess, who lives in Medieval Times, is out to get revenge against her father’s killer. Unfortunately for her, the mission does not go according to plan, because she dies before completing it. Her quest continues in the afterlife, where the killer also happens to reside. In the meantime, she runs into a medical worker from the present day, whose views on violence and revenge strongly conflict with hers.

“Scarlet’s” wide U.S. release does not take place until 2026, but I had the unique opportunity to watch the film in 2025, as it received a very limited engagement in select IMAX theaters. One of those theaters happened to be 20 minutes from home, and given how much I was chomping at the bit to see “Scarlet,” I bought a ticket lickety split. That said, even if “Scarlet” were only playing one, two, three, or even four hours away from where I was, I would have still bought a ticket because the film is from someone who has become a favorite filmmaker of mine in recent years, specifically, Mamoru Hosoda.

If you have read this blog in 2022, or sometime after, you may have discovered that I have a very unhealthy obsession for Hosoda’s movie “Belle,” which I have made multiple posts about, and watched countless times. Since then, I have gone back to watch Hosoda’s other films including “The Girl Who Leapt Through Time,” which was clever and fun. “Summer Wars,” which is creative and full of likable characters. “Wolf Children,” which by the end, triggered all kinds of emotions for me. “The Boy and the Beast,” which I found to be an entertaining journey with a likable duo. And “Mirai,” which I think is the weakest of Hosoda’s filmography, but still charming and neatly animated. Even with his inferior films, Hosoda boasts an incredible resume, and I am proud to say that “Scarlet” just the latest success from the masterclass storyteller.

Every once in a while, there comes in a film that makes people say that such a story is something we need right now, and I would argue “Scarlet” is not just a story we need right now, it is story that we will probably continue to need for years to come. This is not so much a movie as much as it is a message about being kind. A message reminding people of the horrors of violence. A message concerning the importance of the human condition. I really enjoyed seeing the major differences between the film’s two main characters, Scarlet, a princess from medieval times, and Hijiri, a first responder from modern times. Both characters end up dying, meet up in the afterlife, and come to realize each other’s differences.

“Scarlet” is not the only afterlife-centric film I reviewed this year. If you have followed Scene Before recently, you would know I reviewed “Eternity.” Both of these films have clever interpretations on what happens after you die, but both films are likely to hit certain audiences differently. “Eternity” takes a more comedic approach to dealing with the concept of death and the uncertainty of what happens after one ceases to exist. “Scarlet” on the other hand, while it occasionally has a funny moment, is grittier, bloodier, and more violent. If you dig this more dramatic approach, this movie could work for you. One indication of how dramatic this movie can get at times is its messaging about war.

Technically speaking, this film sings. The sound mixing in this film blew me away. There are some lightning claps in this movie that shook me as soon as they emitted. Granted, I saw this film in IMAX, so it is not much a surprise that a lot of the sound effects end up packing a punch. Not surprisingly, like most of Hosoda’s work, this film looks beautiful. Granted, I will say unlike some of his past work like “Summer Wars” or “Wolf Children,” there is a lot less emphasis on color. The film is not only rugged in terms of its vibe, but it is often matched by its color choices, or lack thereof. Though I will note, between this film and “Belle,” Hosoda seems to like focusing on protagonists with pink hair. The animation style is not the easiest to explain in layman’s terms. It is almost “Spider-Verse“-esque considering the film’s mix of 2D and 3D elements. It is not quite on the same level, but at times “Scarlet” does remind me of those films.

The music in this film is also fantastic. There is one song that is original to the film called “A Celebration Song.” I thought it was perfectly timed and utilized around the story’s midpoint. The score, whose percussion elements stood out to me in particular, is composed by Taisei Iwasaki. While I do not think this is as memorable as his “Belle” score, his efforts here result in some chilling tracks.

The story does have elements that are familiar. In fact, “Scarlet” takes a bit from William Shakespeare’s “Hamlet,” but it does not mean it is not its own animal. Scarlet and Hijiri come from different times, different places, different backgrounds. But both note that they are no strangers to war and violence. Scarlet wants to get revenge on the person who killed her father. And Hijiri suggests that people like him are trying to keep the concept of war in the rear-view mirror, despite the difficulty of doing so. He also establishes that his very profession involves saving people from death, and that he has never become used to the idea of people dying despite what his job entails. Scarlet mocks Hijiri, calling him a do-gooder, but he simply wants there to be world peace. As these two navigate the afterlife together, it becomes clear that in a sense, this movie is practically a near two hour plea for pacifism.

I also found the ending quite satisfying. Granted, it does require some suspension of disbelief. But if you can get past the logic leap, then it might hit you in the same way it hit me. Then again, as I say that, I realize how much this film made me suspend my own disbelief. I have no clue what the afterlife is going to be like, but most of my interpretations of the afterlife over the years have a timeline that is almost parallel to the one we experience in “real life.” When someone dies, I sometimes think of them “looking down” at me, or somebody else. The thought has never crossed my mind that there could be another version of me that has already died, or that if I die, I would travel to a time so to speak long before the people I know are born. The afterlife in this film is undoubtedly creative, but it is kind of mind-numbing to think about, and if I did end up there after I died, I would be a bit bewildered. The afterlife feels very specific to the movie’s universe in order to tell its specific story, and it works here. But it does not feel like a place in which people would truly end up after death if you ask me.

I cannot stop thinking about this film’s afterlife, which is in part a good thing because it is clever, but also a bad thing because I sometimes question its logic. But that is not all that is on my mind upon leaving “Scarlet,” because the film reminds me of how I sometimes think about some of the bad things in my life and how I could at one point say to myself, “This is the worst timeline,” or “This is the worst time in history.” But in actuality, my time in history is probably as not as bad as some others. In fact, it is very likely that as I look back in the past, so many people felt that their specific time had an overwhelming amount of negativity attached to it. I look at our world today and there is so much war going on across the planet, but this film reminds me that even though war exists, my generation did not invent it. In fact, many people in my generation are trying to stop it. This film made me wonder what life would be like if I were born at a different time, all the while making me appreciate the good that we have in this current time. I need time to marinate, but “Scarlet” is likely my favorite animated film of the year. It looks pretty, has likable characters, and is also a bit of a thinker.

In the end, “Scarlet” is, to me, in the middle tier of Mamoru Hosoda’s filmography, which is another way of suggesting that I really dug this movie. Hosoda tells a fast-paced, riveting, emotionally satisfying story with a couple of fleshed out main characters. I liked getting to know about both of them. On top of that, the film is beautifully animated and has tons of great music. I am going to give “Scarlet” an 8/10.

“Scarlet” arrives in theatres Feburary 6th, 2026.

Thanks for reading this review! My next review is going to be for “The Secret Agent!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Hamnet” and “Avatar: Fire and Ash.” 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 “Scarlet?” What did you think about it? Or, what is your favorite film from Mamoru Hosoda? Let me know down below! Scene Before is your click to the flicks!

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

Posted on by Jack Drees

“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.

© Sony Pictures Classics

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!

A Big Bold Beautiful Journey (2025): Colin Farrell and Margot Robbie Deal with the World’s Strangest GPS

Posted on by Jack Drees

© Sony Pictures

“A Big Bold Beautiful Journey” is directed by Kogonada (Pachinko, After Yang) and stars Margot Robbie (The Wolf of Wall Street, Suicide Squad), Colin Farrell (The Banshees of Inisherin, Total Recall), Kevin Kline (Cyrano de Bergerac, Bob’s Burgers), and Phoebe Waller-Bridge (Fleabag, Indiana Jones and the Last Crusade). This film is about two people who meet at a wedding and eventually go on a journey that leads both of them to revisiting their pasts.

The trailers for “A Big Bold Beautiful Journey” did very little to excite me. I had the feeling the flick was going to either be too corny, overly sappy, or uneventful. In some ways, the final product falls in line with those expectations, but not exactly in the way that I thought they would. I am here to tell you that this movie is much better than I could have imagined, even if it is not perfect.

“A Big Bold Beautiful Journey” is not my kind of movie. When it comes to the many genres moviegoing has to offer, romantic dramas, in fact, even romantic comedies, are typically at the bottom of the list for me. I have nothing against the concept of romance, but as stereotypical of a guy thing as it is to say, I like my action. If I were not as open-minded about movies, chances are I would probably buy a ticket to “A Big Bold Beautiful Journey” solely to impress a date. That said, I do not live in that reality, and I took my single behind and put it in a Dolby Cinema chair. Because who needs a date when you have shaking recliners?

© Sony Pictures

Few things are as pleasing as a tremendous surprise, and “A Big Bold Beautiful Journey” was in fact, a surprise. This film immersed me from the very beginning and refused to let me leave. They say not to judge a book by its cover, but this film proves that it is not about the destination, it is, in fact, about the big bold beautiful journey.

The film finds itself in this peculiarly fulfilling middle ground where it does not quite feel real, but there is a certain level of belief that I am willing to suspend in what is ultimately a grounded world. Yes, much of the film features a self-aware GPS that takes its characters to places that make them think about their lives. But the film is ultimately about the human condition. The experiences that shape us. The places that make us. The people that define us. It is about the unpredictable mess that is life. Judging by everything I am telling you, it sounds like I am hyping this up to be the movie of the year. That would be a bit of an overexaggeration, but I do appreciate how much the movie made me think.

© Sony Pictures

I buy both of the leads in their respective roles. You have Colin Farrell as David… A reserved, hopeless romantic, trying to make it from one day to the next. Then there is Margot Robbie as Sarah, who has a bit more experience when it comes to the dating scene. Together you have a star-studded pair in a film that sounds too crazy to work, but somehow it does.

I am not going to pretend that everything works. One can make the argument that the film is too convenient. It is a film that relies heavily on something happening at the right place at the right time, or at the wrong place at the wrong time. I mentioned I am able to suspend my disbelief to a certain degree, but I think that is something I think not every viewer is going to do. The movie often feels fantastical and I see how select viewers would find that to be a turnoff. In fact, one thing that turned me off at times were the moments we spend at a rental car facility. That’s when we see a cashier and a mechanic played by Phoebe Waller-Bridge and Kevin Kline, who are honestly not as whimsical and charming as this movie wants me to think they are. Also, this film maybe has one of the most obvious product placements of any film I’ve seen in 2025, with its inclusion of Burger King.

Yes, I know “War of the Worlds” is a big Amazon commercial, but would you really call that a movie?

The restaurant ends up playing a somewhat substantial role in the plot as both lead characters go there, bond, share what they have in common, and once the leads are done there, that’s where the real fun begins for them. Nothing ignites romance like Whoppers!

Years ago, I reviewed a movie, if you want to call it that, by the name of “Superintelligence,” and this film reminds me of that one, as the protagonist’s journey is heavily guided by a computer, but there is a key point that this film gets right that “Superintelligence” does not. As I watched the film’s protagonist, David, I got the sense that he was often hesitant or second-guessing himself at each point of his journey. Despite some of his actions being determined by a computer, it often feels like he is presented with constantly engaging dilemmas. Should he go where the computer is taking him or should he go elsewhere? Should he perhaps go home?… As I watched the film, I wanted to know how these dilemmas were resolved.

You may be under the impression that the film’s biggest selling point would be one of it’s stars, like Colin Farrell. He is a great actor, but no. You might think it is Margot Robbie. Despite being a straight white male, she did not sell me either. Instead, what got me in the door was this film’s composer, Joe Hisaishi.

Some of you might be wondering who the heck I am talking about. And I would understand that reaction because this is Hisaishi’s first Hollywood feature he’s ever composed. That said, if you have watched Japanese film, or every film from anime director Hayao Miyazaki, you have heard his music, and each piece is often as inviting as his last. His compositions in this film are not exactly the most booming or epic pieces, nor do they need to be. Just about each one comes with a cozy vibe. Hisaishi delivers the goods here with several soothing tunes.

One last note, the GPS in this film is voiced by Jodie Turner-Smith. The role does not require a lot of pizazz or physical work. It is ultimately just a voiceover, but Turner-Smith gives it her all. The two most prominent characters are those of David and Sarah, but if this film had one character just below them in terms of importance, it would probably be the GPS, and Jodie Turner-Smith does her best to allow the character to ooze personality. It puts the film in the right direction.

…

I said, it puts the film in the right dire–(some dude tackles me to the ground and slaps me in the face)

© Sony Pictures

In the end, “A Big Bold Beautiful Journey” is surprisingly solid. Margot Robbie and Colin Farrell have enough star power to keep an entire solar system running by themselves, but together, they have solid chemistry. I buy these two as they revisit various points of their lives. I thought they were cute together. Is this a film I plan to watch again anytime soon? Not immediately, but this is not a bad flick by any means. It is also a decent pick for a date movie. I am going to give “A Big Bold Beautiful Journey” a 7/10.

“A Big Bold Beautiful Journey” is available to rent or buy on VOD.

Photo by Universal Pictures – © 2025 Universal Studios

Thanks for reading this review! My next review is going to be for “Him!” Stay tuned! Also coming soon, look forward to my thoughts on “Eleanor the Great,” “The Lost Bus,” “One Battle After Another,” “If I Had Legs I’d Kick You,” “Tron: Ares,” and “Bone Lake.” 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 “A Big Bold Beautiful Journey?” What did you think about it? Or, what two actors would you like to see play a couple on screen together? Let me know down below! Scene Before is your click to the flicks!

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

Posted on by Jack Drees

“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!

Bring Her Back (2025): Another Clever, Scary Outing from the Philippou Brothers

Posted on by Jack Drees

“Bring Her Back” is directed by Danny and Michael Philippou, the directing duo behind “Talk to Me.” This film stars Billy Barratt (Kraven the Hunter, Responsible Child), Sora Wong, Jonah Wren Phillips (Human Error, How to Make Gravy), and Sally Hawkins (The Shape of Water, Paddington). This film centers around Andy and Piper, a brother and sister who are placed under the care of an eccentric woman and find themselves part of a terrifying ritual.

I ended up going to see “Bring Her Back” mainly because of the films that were out in one particular weekend, it piqued my curiosity the most. Note my choice of words. I never said I was looking forward to this film. But I cannot say I was dreading it either. If anything, I was going to see “Bring Her Back” because of my past experience. If I saw any trailers for “Bring Her Back,” they likely flew over my head. That said, I saw “Talk to Me” one time a couple years back. I thought it was a respectable effort by filmmaking brothers Michael and Danny Philippou. While the film had its fans, I cannot say I thought it was perfect. Though I liked it enough to give it a thumbs up. There is a saying that you are only as good as your last project. The Philippou brothers’ last project got me in the door. So, how is their latest outing?

Out-freaking-standing, and I cannot emphasize my enthusiasm enough.

“Bring Her Back” is easily one of the best films of the year. It is a movie that is not quite committed to one genre. I have called it a horror film, and knowing what “Talk to Me” turned out to be, I was kind of expecting “Bring Her Back” to be in the same boat as that movie. While the film is creepy, I will say that one could easily put “Bring Her Back” in the category of psychological thriller. One can simply say it is a drama. Regardless of whatever genre you call it, it handles all of its mini-genres with excellence.

What makes “Bring Her Back” so great is my attachment to the core characters. We come to find out that they all have something in common. Specifically, they are all grieving over someone they lost. While it is traditional for people to grieve over someone’s death, these deaths are unlikely scenarios. For the two younger characters, Andy and Cathy, we see early on in the film that they lose their dad. Shortly after, they meet a new foster parent (Sally Hawkins), whose young daughter died after drowning in a pool. The movie made me feel bad for all three of these people, even if something seems off about one of them.

When these three people first met, it did not take long for me to develop a pit in my stomach. I knew we were in for a ride with Sally Hawkins from the moment I saw her. First off, like some of her previous projects, Hawkins does not phone it in whatsoever when it comes to her performance. She has so much range packed into one character. At one moment she is kind of a creep, then lovable, then flamboyant. Whatever she happens to be as Laura, Hawkins nails it. That said, even when she is those last two adjectives, there is a sense of creepiness to her that remains consistent.

There are some things Hawkins does throughout the runtime that not only made me hate her, but made me want to straight up punch her in the face. She is everything you can want in a solid antagonist. While I will give praise to Hawkins for her performance, I will not deny that her character is sometimes straight up unlikable despite her occasionally having a chill or “cool mom” vibe. And me loathing her is a good thing. All it got me to do is get behind the kids through their journey as it plays out. As wacky as this movie gets at times, I was able to buy into Laura’s motivation. I could see where she was coming from even if I ultimately thought she was a psychotic lunatic.

I would not call this a complaint, but this is more or less something I noticed through my experience of watching the film. Keep in mind, I found “Bring Her Back” to be quite scary. But I cannot say that there are many jaw-dropping individual scares in the film. If anything, I found the film to maintain a consistent eeriness. Going back to how this film balances itself between multiple genres, this is another example to support that case. The scariest part of this film is not any particular scene, but it is the everlasting sense that Laura is going to do something bonkers. And she ends up doing some bonkers things.

Structurally, “Bring Her Back” does not miss a beat. It has a great hook that gets you to care about the two younger kids. You have all the adventures these kids encounter alongside their new foster parent, and as the film gets to the climax, it means business. Again, Sally Hawkins is a fantastic performer. But by the end of the movie I would not have minded seeing her character splatter into bits. There is never a boring moment in this film. The story is captivating. The characters are well written, everything ends on a solid note, and the entire film has a pretty good soundtrack. There are some tunes that slide their way into the film that are perfectly placed.

Sally Hawkins is not the only standout amongst the cast, though she is by far the biggest name. That said, I must give credit to all the younger cast members as well. Billy Barratt does a solid job in the film as Andy. I thought he was on the money when it came to channeling his character’s apprehension in a variety of situations. Jonah Wren Phillips is not given as much to do as Oliver compared to some of the other characters, but what he ends up doing stands out. There is one particular scene in the film that involves him chewing an unusual object that will linger in my mind beyond the end of the year. And lastly, Sora Wong as Piper is adorable. This is Sora Wong’s first role and I am very pleased by how it turned out. I think she is going to have a great career ahead of her. I can totally tell how masterful the Philippou Brothers are as directors based on the efforts of the talent. Each actor feels perfectly in sync with the others around them and not a single performance feels off.

In the end, “Bring Her Back” is top tier filmmaking. I cannot believe we have been blessed with cinema as compelling as this. When I walked out of “Talk to Me,” I did so having had a good time with it. Flash forward a couple years later to “Bring Her Back,” I am genuinely onboard for whatever the Philippous can produce. I keep bringing up Sally Hawkins as a selling point, partially because she is a recognizable name. But everyone else in this film does a great job too. I have to give the entire cast credit for their work. If you like good storytelling, look no further, because I am going to give “Bring Her Back” an 8/10.

“Bring Her Back” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for the brand new comedy “Friendship.” I have been looking forward to seeing and talking about this movie. And I finally get to discuss it in the coming days. Stay tuned! Also look forward to my reviews for “Ballerina,” “The Phoenician Scheme,” and “The Life of Chuck.” 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 “Bring Her Back?” What did you think about it? Or, which film did you like better? “Talk to Me” or “Bring Her Back?” Let me know down below! Scene Before is your click to the flicks!