Thriller

No Other Choice (2025): My First Park Chan-wook Film

Posted on by Jack Drees

“No Other Choice” is directed by Park Chan-wook (Oldboy, Decision to Leave) and stars Lee Byung-hun (Joint Security Area, A Bittersweet Life), Son Ye-jin (A Moment to Remember, April Snow), Park Hee-soon (My Name, Seven Days), Lee Sung-min (Golden Time, The Spy Gone North), Yeom Hye-rann (The Glory, The Uncanny Counter), and Cha Seung-won (Uprising, Believer). This film is based on a novel called “The Ax” and is about a man who quite literally decides to eliminate his competition in order to secure a job.

Courtesy of Neon – © Neon

My experience with Korean cinema is very limited. In fact, to this day, I have never once reviewed a Park Chan-wook film on Scene Before. I have not even seen one of his films. Of course, I have heard of some of his work, but I have never had the chance to watch any of it. However, when I watched “Shelby Oaks” at AMC in October, one of the last trailers that played was for “No Other Choice,” which immediately caught my attention. This trailer boasted its positive reviews in addition to its 100% Rotten Tomatoes score. As of this publication, the score stands at 99%, but this is still mighty impressive. The trailer also made sure to emphasize that the film was from Park Chan-wook, whose last feature, “Decision to Leave,” was nominated for two BAFTAs. Not to mention, his feature prior to that one, “The Handmaiden” actually won him a BAFTA for “Best Film Not in the English Language.” While Chan-wook may not have as much recognition in the States as Bong Joon Ho, I would not be surprised if “No Other Choice” brings him some extra publicity that could make him somewhat of a household name. After all, I got to the see the film a little more than a week ago, and I have to say I found it to be quite good.

I have no idea how this film is going to do with general audiences, particularly those in the United States, but I really hope it succeeds. That sounds like a moot statement. In actuality, I want just about every film that exists to succeed. But I really hope “No Other Choice” in particular does, because the film has themes and ideas I think a lot of people living in the United States, as well as other parts of the world, can relate to.

The film starts off by introducing its lead character, Yoo Man-su, who basically has it all. A good life, a happy family, a couple dogs, a nice house, a good job, even some awards recognition. However, there comes a point where his collective success begins tumbling like a flimsy Jenga tower. He loses his job, keeps applying for other ones in his field but he cannot find success, so he ends up working in retail. With the pay not high enough, Man-su’s wife, Lee Mi-ri, gets to a point where she takes up some part-time work. The family starts sacrificing some of their hobbies and possessions. For Man-su, his extended struggle gets to a point where he feels he has, no pun intended, no other choice, but to kill off his competitors.

Seeing this plot play out is quite entertaining and results in some unpredictable moments. The screenplay weaves a lot of threads. Some some of those threads are more engaging than others. Admittedly, I felt the 2 hour and 19 minute runtime. If anything, that is probably the film’s biggest flaw. It is sometimes, not all the time, but sometimes, tediously paced. Yet it fails to change the fact that I was often intrigued by not just how much was going on, but the execution of all of it.

While “No Other Choice” will probably not end up amongst my top movies of the year, I do have to admit that it is absolutely one of the most technically beautiful movies I have seen in 2025. There are a lot of little quirks the film delivers that almost do not matter at all, but they nevertheless make the final product all the better. For example, there is a scene where we see one character holding a lighter, and there is a cartoony fire effect that comes up as said character flicks it. This is almost like something out of a graphic novel. The color grading in this film is extravagant. I got to see this film in IMAX laser, so I had a pretty bright projector in the auditorium, but I am sure even if it was not that bright, the film would still look incredibly poppy. The film is sometimes dark, but it takes a satirical route. It has a Tarantino vibe at times, so the color palette fits. Speaking of colors, sometimes the sun acts like a secondary character. There are a couple shots where the sun’s dropping or rising and it comes off as an Instagram influencer’s dream. The camerawork is also pretty solid. The film has maybe the sickest zooms I have seen since “Scott Pilgrim vs. the World.” I dropped my jaw at some of these movements. The film is often grounded, but there are occasional moments where the vibe can feel animated, and yet those two moods mesh together perfectly to make something fulfilling.

Another standout in the technical department is the soundwork. I saw this film with a large crowd, about a five to ten minute drive outside of Boston. My screening was almost sold out. The film has plenty of laughs, including some moments that, again, arguably do not matter much, but the fact that they are there makes the project better. There is a moment in the film where Lee Mi-ri is going over the changes that the family has to make in order to save money. One idea she had was to cancel Netflix. Of course, one of the children excuses themselves from the dinner table with an electronic device and says they’re going to get one final stream in. Next thing we hear is Netflix’s well-known “Tudum” sound effect that plays either before one of their programs or when you log in. It got a much bigger laugh from the audience than it should have, but it was timed and mixed so perfectly that it was almost impossible not to laugh.

The other sound effect that could have gone sideways was a specific door chime. You know how when you walk into a store, you hear a chime when the door opens? There is one scene set at a shop where a chime almost plays on a loop. The more it played, the funnier it became. At least to me. The chime itself was rather funny-sounding to begin with, but the fact that it kept playing only added to the comedy. “No Other Choice” has a lot of little things to appreciate in what is ultimately an ambitious ride. It has laughs. It has drama. It has entertainment. It has everything one could want to make a solid flick and more.

Courtesy of Neon – © Neon

In the end, I have no other choice but to recommend this film. I would not be surprised if “No Other Choice” ends up speaking to a lot of people. These include people who lost their jobs, perhaps those close to someone they know who lost a job, or people simply trying to get by. The cost of living, depending on where you reside, is getting out of control, and that is if it has not done so already. This is my first Park Chan-wook movie, and I would not mind seeing more. At some point, I would like to check out some of his older projects, or if he has something new up his sleeve, that could be cool to see too. I am going to give “No Other Choice” a 7/10.

“No Other Choice” arrives in select theaters this Christmas and will have a wide release in January 2026.

Thanks for reading this review! My next review is going to be for “Fackham Hall!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Scarlet,” “The Secret Agent,” “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 “No Other Choice?” What did you think about it? Or, do you have a favorite Park Chan-wook movie? Let me know your suggestions down below as I would love to get into more of his work. Scene Before is your click to the flicks!

Wake Up Dead Man: A Knives Out Mystery (2025): The Weakest Film of the Knives Out Trilogy

Posted on by Jack Drees

“Wake Up Dead Man: A Knives Out Mystery” is directed by Rian Johnson and this is the third film in his ongoing “Knives Out” franchise. This film stars Daniel Craig (Casino Royale, Logan Lucky), Josh O’Connor (Challengers, The Crown), Glenn Close (The Wife, Fatal Attraction), Josh Brolin (Avengers: Infinity War, Weapons), Mila Kunis (Family Guy, Jupiter Ascending), Jeremy Renner (The Avengers, The Hurt Locker), Kerry Washington (Scandal, Little Fires Everywhere), Andrew Scott (Sherlock, Ripley), Cailee Spaeny (Priscilla, Civil War), Daryl McCormack (Good Luck to You, Leo Grande, Bad Sisters), and Thomas Haden Church (Spider-Man 3, Wings). This film shows what happens as Benoit Blanc investigates the death of priest who passed during a Good Friday service.

“Wake Up Dead Man” is one of those films that I really should be more excited about. I did not make a most anticipated films of the year list this past January. Frankly, I do not know if I ever will make one of those lists again. But if I did do one for this year, chances are I would have put “Wake Up Dead Man” on it. I really enjoyed the last couple of “Knives Out” movies, especially the original. This film franchise comes off as a passion project for Rian Johnson behind the camera and Daniel Craig in front of it. That said, I kept forgetting that this third film was happening. I knew that a third film would happen at some point. But I feel like the hype machine for this film was miniscule compared to the previous ones. The first film, while definitely somewhat familiar as far as the mystery genre goes, was one of 2019’s freshest and most exciting originals. “Glass Onion” appeared to piggyback off of the first film’s success while still delivering something new and what I thought to be a solid sequel. It also surprisingly implements the COVID-19 pandemic quite well. There were quite a few 2020-esque callbacks that had me laughing. I did not see that coming. “Glass Onion” even got a wider theatrical release than most Netflix projects, as it should have. I could not believe I had the opportunity to watch a Netflix movie at an AMC, but it happened!

Meanwhile, “Wake Up Dead Man” also had a release in theaters, but it appears to have similar treatment to a lot of Netflix’s other movies that end up in cinemas. “Wake Up Dead Man” ended up playing a few locations, but none of the major chains. Not AMC. Not Regal. Not Cinemark. I took advantage of the limited opportunity to catch “Wake Up Dead Man” in cinemas, and part of me is thankful for it. Like the past couple films, “Wake Up Dead Man” has plenty of laughs. It was exciting to see this film play in front of an occasionally audible crowd. That said, of the three “Knives Out” films, I found this one to be the least funny.

Courtesy of Netflix – © 2025 Netflix, Inc.

One of the biggest positives I can give “Wake Up Dead Man” just so happens to be one of the biggest positives I’ve acknowledged through the last couple of “Knives Out” movies. Daniel Craig looks like he is having a ball in every single scene. Benoit Blanc is a perfect balance between being a voice of reason while also teetering to a point where he is practically a complete goofball. He has such a knack for theatricality and a lust for shenanigans all the while being in complete focus to simply solve whatever case is in front of him. This is Craig’s third outing as Blanc and he continues to shine. Of course, Craig surrounds himself with plenty of star power. This film’s ensemble cast includes big names like Mila Kunis, Josh Brolin, Thomas Haden Church, Kerry Washington, and Josh O’Connor to name a few.

“Wake Up Dead Man: A Knives Out Mystery” feels the most Netflix-esque of the “Knives Out” movies so far. Granted, this statement may be unfair, considering the first one is not a Netflix original. It was distributed by Lionsgate. But of the three movies, this is the one that feels the most disposable of the bunch. I hate to stereotype Netflix films, but when I think of Netflix’s filmography, much of what comes to mind is “content.” These are stories designed to be consumed as soon as it drops, only for them to be quickly forgotten. “Wake Up Dead Man” undoubtedly has some memorable moments, but I would not be lying to say it is the most forgettable film of the trilogy so far.

That said, there are some things that this film does to separate itself from the previous two. Like the last couple of films, the story revolves around a large ensemble cast. However, this story involves a group of people who are to a certain degree, constantly in a tight knot, but we also see them constantly separated. Specifically, people who work within and go to a specific church. Sure, we see the cast of first film split up through town, but much of the picture sees a large family gathering in one home. The second film sees a big group of friends coming together at an unusual abode. This film goes bigger and many of the crucial story moments happen from one place, followed by another. It is not like multiple people are dying in the same home similar to the second movie.

“Knives Out” so far has remained a consistent franchise for the most part. All three films are directed by Rian Johnson, and his touch has been exquisite with each go. Every film to a certain degree feels like a throwback set in modern times. All the films run at a smooth pace and have laugh out loud humor. That said, this film let off a particular vibe that the other two did not. As this film reaches the end, it felt draggy. There is a moment in this film where this huge revelation is unveiled. Of course, it is eloquently explained by Daniel Craig’s Benoit Blanc. The film’s timing with its edits, shot choices, and music also play a role in such mastery. While Craig seems to be having fun on set, I had less fun watching him and the surrounding characters during this scene. The revelation is incredibly drawn out, perhaps on purpose. Regardless of the intent, watching this scene occasionally felt tedious. The climax of this film felt rather underwhelming compared to the other two.

All of the “Knives Out” films exceed a two hour runtime including credits. While “Wake Up Dead Man” is the longest “Knives Out” film statistically, it is perhaps the only “Knives Out” movie where I could feel the runtime, almost to the point where I thought the movie was longer than what the runtime said it was. This is the first time I watched a “Knives Out” movie wondering it would end. I was far less invested in this film than I was the other two. Is the film clever? Sure. Is it well made? Sure. But it lacks the oomph that the other two movies have delivered. This may be because I found the screenplay or characters to be less compelling this time around, or perhaps that the formula is not as novel as it was in 2019. As much as I respect Rian Johnson, I would be curious to see what another filmmaker could bring to this franchise in the future. I feel like they could bring a breath of fresh air. This is not a horrible movie, but it is the least palatable of the trilogy so far and by its conclusion, I kept wondering when it would roll the credits.

Courtesy of Netflix – © 2025 Netflix, Inc.

In the end, “Wake Up Dead Man: A Knives Out Mystery” feels like a step down for the franchise. I walked out of the first couple of “Knives Out” movies buzzing. Even though I gave “Glass Onion,” a 7/10, which is good, not great, I found the film to be a memorable experience. The first two films had nonstop laughter, engaging plots, and likable characters. While there is still plenty of humor in “Wake Up Dead Man,” I found myself less attached to the story and cast. Sure, Jud is a solid protagonist, but I found the supporting cast to not stand out as much as those from the previous installments. There is no Chris Evans in the cast or Dave Bautista. I cannot name that one character who had one or two extremely quotable lines that I will be thinking about for a long time. Sure, this film gets plenty of big names, but I do not think they were used as well as the actors from the last movies. Maybe I will rewatch the film on Netflix one day and have a totally different opinion, but for now, I am going to give “Wake Up Dead Man: A Knives Out Mystery,” a 6/10.

Little sidenote, this is not sponsored, but if anybody wants to watch a really fun “Knives Out” parody, this is your chance. Netflix, who not only distributes “Knives Out,” but also airs new episodes of “Sesame Street,” released a new short called “Forks Out.” The 5 minute story features the cast of “Sesame Street” trying to figure out who ate the Cookie Monster’s pie, with some help from Detective Beignet Blanc, inspired by Daniel Craig’s Benoit Blanc from the movies. Go check it out. It’s a take on “Knives Out” with puppets. How can this not be funny?

“Wake Up Dead Man: A Knives Out Mystery” is now playing in select theaters and is available on Netflix for all subscribers.

Thanks for reading this review! My next review is going to be for “Jay Kelly!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Bugonia,” “No Other Choice,” “Fackham Hall,” “Scarlet,” “The Secret Agent,” and “Hamnet.” 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 “Wake Up Dead Man: A Knives Out Mystery?” What did you think about it? Or, what is your favorite film in the “Knives Out” trilogy? Let me know down below! Scene Before is your click to the flicks!

The Running Man (2025): Edgar Wright Delivers a Supersonic Ride

Posted on by Jack Drees

“The Running Man” is directed by Edgar Wright (Scott Pilgrim vs. the World, Last Night in Soho) and stars Glen Powell (Twisters, Anyone But You), William H. Macy (Fargo, Kingdom of the Planet of the Apes), Lee Pace (Foundation, Guardians of the Galaxy), Michael Cera (Scott Pilgrim vs. the World, The LEGO Batman Movie), Emilia Jones (CODA, Locke & Key), Daniel Ezra (A Discovery of Witches, All American), Jayme Lawson (The Batman, Sinners), Sean Hayes (Will & Grace, The Three Stooges), Colman Domingo (Sing Sing, Rustin), and Josh Brolin (Avengers: Infinity War, The Goonies). This future-set film is based on the book by Stephen King and follows Ben Richards who is put on a game show where he has the chance to become a billionaire by surviving for 30 days against hunters.

The 2025 adaptation of “The Running Man” is my first true exposure to the property. Yes, I have long been aware that Arnold Schwarzenegger starred in a previous adaptation years ago. It took me a while to realize that said adaptation was based on a Stephen King book. That said, I was onboard for this 2025 film just for the fact that Edgar Wright was helming it. I love his fast-paced directing style utilized in films like “Scott Pilgrim vs. the World” and “Baby Driver.” He has a knack for sick action scenes.

That said, compared to those movies, “The Running Man” does not hold a candle. Yet at the same time, like I often say about Pixar, an inferior Edgar Wright project can still equal a good movie, and a good movie “The Running Man” is.

While I have not seen the original “Running Man” film, I am aware that former “Family Feud” star and record-breaking lady kisser Richard Dawson played Bobby Thompson, a charismatic game show host. I cannot say much about Dawson’s performance given my lack of experience with the 1987 movie, but I can see why he was cast to play the character. Flash forward to 2025, where we have Colman Domingo, who last I checked, let me check my notes here =flips papers= hosted ZERO game shows. But Domingo’s performance as Bobby T makes me think he could easily kill it as a game show host in real life I would love to see what he could do on perhaps a reboot of “1 vs. 100” if that ever comes back. In fact, at times, that’s what part of “The Running Man” game show feels like, at least before “The Running Man” gets started. Maybe it is because both concepts involve one person trying to fend off a group of people.

Domingo says his role was inspired by Jerry Springer, and I can see where he is coming from, because if you watch those kinds of talk shows, even ones like “Maury” or “The Steve Wilkos Show,” there is a sense of heightened reality that those hosts are responsible for bringing to the table. In fact, when it comes to Domingo’s line delivery and the production design that often matches perfectly alongside it, it reminds me of something I and others would often compare “The Jerry Springer Show” to, specifically wrestling. The theatrics on “The Running Man” are much more extravagant than most real life game shows. At times it makes “Who Wants to Be a Millionaire?”, a show that partially succeeds on its elaborate production design, seem insignificant.

“The Running Man,” like many films set in the future, paints a dystopian, bleak picture of what’s to come. To my surprise, I found quite a bit in common with “The Running Man” and “Idiocracy.” Granted, people are much smarter in “The Running Man,” but if you look at the state of television in both films, you would notice that both heavily feature programming that focuses on people’s pain. Sure, we have that now. One of my all time favorite game shows is “Wipeout,” which features people falling from great heights in each episode. But it is on a different level in this film. Life in “The Running Man” has gotten to a point where gambling is supposedly dominating the world. For Ben Richards, getting on a game show means everything to him. Not necessarily because he likes the shows, but because those shows are a means to make a quick buck. He wants a better life for himself, his family, and game shows are a fast and easy way to get to that point.

Overall, I thought Ben Richards was a likable protagonist. The movie gives him one obstacle after another. He cares about the people he loves. I like the film indicating his distaste for being on “The Running Man” despite doing all he can to make it through. If I had one thing to say though, I feel that of all the characters in this film, Ben Richards is the most likely candidate to receive the title “character that could be played by almost anyone.” I have nothing against Glen Powell. Each role of his proves he is a movie star in the making. Powell has charisma, and he even impressed me in the neither romantic nor funny “romcom” some like to call “Anyone But You.” But as I look back at Ben Richards, I feel that this is maybe the least Glen Powell-esque the actor has been thus far. Through the films in which I have seen him, this is the most “everyday” Powell has come off.

This is a film that fires on all cylinders in act one, keeps up the pace in act two, and while it does not fall apart in act three, if I had to name a “worst act,” it is easily the third. By the time the film reaches its end, I found it to be overstuffed, too long, and close to tonal inconsistency. The third act sometimes feels slow, and slow is the last adjective I should be using to describe a movie called “The Running Man.” The movie is 2 hours and 13 minutes long, and for the most part, it is paced well. That said, the third act has a pacing problem. Certain moments of the third act feel rushed and slapped together, while others tend to drag. It lacks the personality of the acts that came before. It is not the worst schlock I have seen this year, but I do not think it is up to the standards of Edgar Wright, who is generally praised as a filmmaker. This is not Wright’s finest outing, but it does mean the movie is bad. I would still recommend it if you want a fun action-adventure.

In the end, “The Running Man” is worth checking out. The film looks great, sounds great, and at times, it feels like Edgar Wright’s passion for the material shines through. That said, there are quite a few scenes in this film that are noticeably superior to others. “The Running Man” paints a future that I can see happening. It has traces of our present with the popularity of reality TV, gambling, and humanity’s noticeable desire to see others fail for the sake of entertainment. I am going to give “The Running Man” a 7/10.

“The Running Man” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Eternity!” Stay tuned! Also, look forward to my thoughts on “Wicked: For Good,” “Sentimental Value,” “Zootopia 2,” and “Wake Up Dead Man: A Knives Out Mystery.” 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 Running Man?” What did you think about it? Or, what is your favorite Stephen King film adaptation released this year? As for me, I have not seen “The Monkey” yet, so I am not sure if I can validly answer that question, but I must declare that “The Life of Chuck” is a must see if you have not gotten the chance to check it out already. Leave your thoughts and opinions down below! Scene Before is your click to the flicks!

Shelby Oaks (2024): Chris Stuckmann’s Chilling Feature-Length Debut

Posted on by Jack Drees

“Shelby Oaks” is written and directed by Chris Stuckmann (Notes from Melanie, Auditorium 6) and stars Camille Sullivan (The Man in the High Castle, Rookie Blue), Brandon Sexton III (Don’t Breathe, The Killing), Keith David (The Thing, Pitch Black), Sarah Durn (Where the Crawdads Sing, Carry-On), Derek Mears (Friday the 13th, Swamp Thing), Emily Bennett (Alone with You, City on a Hill), Charlie Talbert (Where the Crawdads Sing, Angus), Robin Bartlett (The Powers That Be, Mad About You), and Michael Beach (Saw X, Kingdom Business). This film is about a woman who is searching for her missing sister, with whom she previously made YouTube videos about the paranormal.

Before I begin my review for “Shelby Oaks,” I must preface by saying that there is potential for bias in what I am about to say. For those who do not know, this film is directed by Chris Stuckmann, one of the most popular film reviewers on YouTube. In fact, Chris Stuckmann, along with fellow YouTube critic Jeremy Jahns, are two of the biggest inspirations as to why I started critiquing films. As for Stuckmann, I happen to be in the same boat as him. While I love to talk about movies, I am also interested in making them. In fact, not to brag but I have taken my passion for film and media and turned it into something bigger. I work for a news station in Boston, and I made various shorts throughout high school and college.

To add extra potential for bias, I donated to this film’s Kickstarter campaign. I typically pay for the movies I review through movie tickets, physical media, subscription services, etc… But this is the first time I am reviewing a film whose budget literally comes from my own money.

As for my expectations for the film, I will be real… I was not sure what to expect. While I have seen a lot of social media marketing, I only watched the trailer one time in theaters, specifically before “Together,” which like this film, is from Neon. Was I excited? Sure. But I also did my best to keep myself from letting my expectations shatter the roof, as that only increases the chance of disappointment.

“Shelby Oaks” is responsible for making me spend more money on a movie prior to checking it out in the theater than any other, and I would say I made a worthwhile investment because I thought the film is quite good.

Is “Shelby Oaks” a perfect movie? No. But I did not leave this film thinking that Chris Stuckmann needs to stick to his dayjob on YouTube. That said, having watched his YouTube channel and getting to experience what he’s discussed for years, it did enhance my viewing. Stuckmann has established himself as a horror junkie, and it is clear that this is a passion project of his. The film reminded me of “Hereditary” for example due to its tone and lead performance. That film ended up being one of Stuckmann’s favorites of 2018.

The first ten, twenty minutes of the film, admittedly, caught me a little off guard. That whole segment is presented in the style of a documentary. You have interviews, b-roll, all that jazz. There are also several clips that feature YouTube in its older layout, which is not only a nice nostalgic touch, but also fits with the time in which part of this movie is set. It was also fun to see the creative comments sections and the fascinating user names listed there.

Camille Sullivan leads this film as Mia, and I did not know much about the actress leading up to this film’s release, but I am glad to know her name now. She carries this film in several scenes. Her performance, again, reminded me of Toni Collete’s in “Hereditary.” The performance here is not as powerful, but that is partially because “Shelby Oaks'” dialogue does not stand out as much as that of “Hereditary’s.” Granted, I do think this film does a great job at prioritizing visuals over dialogue. At times I felt like I was watching a “Quiet Place” installment. As for the dialogue that is in the film, I cannot say I found any lines that I outright despised. There are no lines that will go down amongst the greatest in history, but I thought overall, the dialogue was effective and helped in getting the characters from point A to point B.

Speaking of getting from point A to point B, I thought this film flew by. Granted, it is on the shorter side, but even with that in mind, it felt shorter than it was estimated to be. Maybe that is because of the film’s documentary approach in the beginning, which took up way more of the runtime than I anticipated. I have nothing against that portion of the film, but still. Even with the film flying by, almost each scene in the main feature feels incredibly drawn out. Each scene tends to take its time, which I have no problem with as they did a good job at drawing me in and immersing me into their respective environments. The film is shot on location, part of which includes the Ohio State Reformatory, the spot used for the prison in “The Shawshank Redemption.” While its lower budget definitely shows, the film’s effects, cinematography, and production design, all maintain a luster to them.

In terms of scares, “Shelby Oaks” reminded me of “Weapons,” which I found more tense than horrifying. It is a film that does not go overboard with any particular scare, although there are a fair amount of cliches in this film such as jumpscares. I am not traditionally a fan of jumpscares, but here they were used sparingly and were not too overly dramatic, which I did not mind.

Speaking of cliches, while this film does have an unusual structure, I found parts of it quite predictable. There is one particular scene where as soon as a certain person popped up, I knew pretty much where it was going, and lone behold, the end result was not much different from what I was expecting. Predictability is not exactly the most satisfying thing to see as a moviegoer, but at least everything in said scene appeared to fit into place.

When I first reacted to this film on social media, I spoke about the pace and how it reminded me of “Blade Runner.” I meant that as a compliment because, again, the film draws out its scenes to the point where they can sometimes feel slow. But by no means does that indicate that the scenes themselves are boring. In fact, I was wide awake for each scene. I cannot tell you everything that happens in each scene. If anything, the film does tend to weaken as it goes along to the point where some of the third act is rather forgettable. Even with that flaw in mind, it does not change how the setup of this film had me hooked. I was still onboard by the end, but less onboard if you will.

Speaking of the third act, I also found the film’s ending to be a bit haphazard. The ending does not break the movie. It does not ruin anything that came before. It does not fundamentally change the scope of the film for the worse, I just thought it was a bit abrupt. It is also kind of ironic because again, multiple scenes in the film feel drawn out. Yet when the movie gets to its ending, it is about as rushed as a TikTok video. This is not the worst ending I have ever seen. Not even close. But it kind of reminded me of “Kingsman: The Secret Service,” which outright refused to overstay its welcome once the climax finished.

What I am about to say next is probably not going to be a problem for many viewers, This is most definitely in nitpick territory but it is something that nevertheless caught my eye. This is probably going to to feel like déjà vu to those who just read my “Smashing Machine” review, I apologize, but bear with me… This film is presented in multiple aspect ratios. Granted, this is not the first time this has happened. Christopher Nolan for example has experience where he often swaps between traditional widescreen and the ratio of an IMAX screen. I have no idea how this film was assembled, but based on my presentation, it seems to have been assembled with a 16:9 aspect ratio in mind.

The film switches between three aspect ratios. There’s the movie footage, which is 2.39:1 widescreen. There’s the documentary footage, which is 16:9, or the traditional aspect ratio of a modern flat-screen television. And there’s the found footage, which is 4:3, or the aspect ratio of a traditional CRT television. Maybe I have to watch the film again in a different theater to see if anything changes, but given how much 2.39:1 footage there is, I am shocked how long I had to look at it on the screen and see two black bars from top to bottom. Maybe Stuckmann and crew tested this film on a wider screen and did not like how it looked, which, okay… I was not there. Maybe it looked ugly. But I found it weird to be watching this film in a theater, which traditionally sets up its screen for many different aspect ratios, and for a majority of the film, I was looking at black bars. I have a feeling this is an artistic choice, and I think it is one that could suit the home market given how most people watching this at home will likely watch this on a 16:9 screen. But I am curious to know how this film would have looked had it been designed for a wider screen. Funny enough, the movie is executive produced by Mike Flanagan, who directed one of my favorite films of the year, “The Life of Chuck.” That film also features changing aspect ratios. I wonder how much he and Stuckmann discussed this matter, and if one person seeing the other’s work had an effect on the look of either film.

In the end, despite some flaws, I was riveted by “Shelby Oaks.” It is not destined to become the next all-time classic, but it is a solid horror flick with a likable protagonist. This is the first feature film from Chris Stuckmann, and I am happy he was able to get his vision out there. It is a vision that sometimes comes with a rushed, albeit intriguing script. It is a vision that comes with some minor pacing problems, despite a multitude of well-timed sequences and scares. It is a vision that comes with a middle of the road at best ending, but not one that damages the positive moments that happened prior. I am not saying Chris Stuckmann should avoid writing more films. In fact, he sometimes has a knack for creating a decent scene. That said, I would love to see what he could do if he were to put the pen down and focus on directing something from another writer. That said, if Chris Stuckmann has something else up his sleeve, sign me up. I am going to give “Shelby Oaks” a 7/10.

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

Thanks for reading this review! My next review is going to be for Guillermo del Toro’s “Frankenstein.” Stay tuned! Also coming soon, look forward to my thoughts on “Good Fortune” and “The Running Man.” 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 “Shelby Oaks?” What did you think about it? Or, have you watched Chris Stuckmann on YouTube? What are your thoughts on his channel? And lastly, who’s your favorite movie critic? …Actually, don’t answer that, you all know it is me. Eat your heart out, Roger Ebert! Let me know what your thoughts are in the comments! Scene Before is your click to the flicks!

A House of Dynamite (2025): Kathryn Bigelow’s Back, and with More Perspectives Than Ever!

Posted on by Jack Drees

“A House of Dynamite” is directed by Kathryn Bigelow (Point Break, The Hurt Locker) and stars Idris Elba (The Suicide Squad, Pacific Rim), Rebecca Ferguson (Dune, Reminiscence), Gabriel Basso (Hillbilly Elegy, The Night Agent), Jared Harris (Mad Men, Chernobyl), and Tracy Letts (Homeland, Lady Bird). This film showcases different people’s perspectives as the U.S. tries to respond to an intercontinental ballistic missile.

If you know me in person, you know that when I hear the term “Netflix movie,” I automatically go, “NEXT!” When you are a studio dedicated to hiring some of the biggest stars and putting them in a paint by numbers or completely forgettable story like “Red Notice” or “The Gray Man,” I start to think your track record needs improvement. That said, Netflix can occasionally deliver a diamond in the rough. Like many of its competitors, Netflix will usually spend the end of the year delivering their prestige films. These are movies that are likely to get some awards contention like “The Irishman” or “The Power of the Dog.” This year, one of Netflix’s prestige films happens to be “A House of Dynamite,” directed by the first woman to win an Academy Award for Best Director, Kathryn Bigelow. Like some of her other movies, this one involves a serious subject matter and in some cases, might make for a tough watch.

Upon my first impression, “A House of Dynamite” is exactly what I just said. It is one of those films that as soon as I finished watching it, I thought to myself, I need to go home and find something comfortable to put on the television. As soon as the movie was over, I left the theater, got in my car, got takeout, went home, turned on my TV, as well as my 4K Blu-ray player, and popped in “A Bug’s Life.” I sometimes talk about certain films going for the emotions, but this one goes for the emotions in a different way. It goes for the emotions not so much to make you sad, but more so to make you hopeless on top of being sad.

“A House of Dynamite” is this year’s “Oppenheimer.” It is not as good as “Oppenheimer,” but the two are close in terms of quality. “A House of Dynamite” is presented in such a surprisingly brisk pace. I am gobsmacked on how intriguing they ended up making certain segments of this movie. On paper, the movie sounds like pure cinema, but that may depend on how much detail that paper contains. If I told you that this movie was about a bunch of people trying to deal with an intercontinental ballistic missile that is on its way to the continental United States, you might be sold. The concept sold me. But I was not expecting it to be done in the way the filmmakers’ decided to go about it.

The movie is a case of more talk than action. We never see the missile. The closest we get to seeing the missile is through detection screens indicating where exactly in the air it happens to be.

The film also seems to take a page from “Top Gun: Maverick,” because if you remember that film, it never names the enemy. I think this is actually a somewhat wise move, and the way the movie went about it is surprisingly effective.

If I had to look ahead months from now, I cannot see “A House of Dynamite” winning Best Picture at the Oscars. I can see it being nominated. However, winning seems to be off the table. This is not necessarily because it is a Netflix movie, which, like it or not, can come as a turnoff when your awards body is mostly dedicated to movies in theaters. The main reason why I cannot see this film winning is because if I had to name the film’s most significant imperfection, it would be that the characters do not appear to take center stage. The film appears to be more plot-driven than character-driven.

There is an extensive list of characters in the movie, but I could not tell you any of their names. In fact, in the case of Idris Elba, whose name appears first on the cast, he is credited as “POTUS.” Not to digress, I never imagined Elba playing the President of the United States, but I think on paper it is a great pick. In execution, he plays his part well. “A House of Dynamite” does not really have a central character, but the President is arguably the core of the movie.

The film, like many great stories, is presented in three acts, but it presents its acts somewhat similarly to “The Last Duel,” which shows the same story three times from alternative perspectives. The perspectives are packed with differences, but they all take place around the same time and involve the same incident.

Having seen the film, I would love to know how this movie was written. I want to know which perspective Noah Oppenheim started with, how long it took for him to mesh everything together, and how long it took for him to decide on the order of the three acts. For all I know, it could be a boring backstory, but it does not change the fact that this is one of the most unique screenplays of the year. As for the order of the acts that was chosen, I thought it was perfect. Each act seems to hint at things that become more relevant later, and the hints enhanced the acts that followed as they happened. If this film follows in the footsteps of other Netflix projects like “Roma” or “Marriage Story,” I would love to see a Criterion Collection physical copy of the film be brought to market, because I would kill to see a bonus feature on the process that went into putting the screenplay together.

I am curious to know how people will perceive the ending, because without spoilers, let’s just say that the film does not end in a way that I think a lot of people would expect. I do not outright hate how this film ends, but I cannot say it was satisfying either. It almost makes the film feel incomplete. Once again, the screenplay has such a unique layout, therefore the ending is also fittingly unique. But it does not change the fact that it is lacking an impact. It feels like the movie had more to tell but decided to forget about whatever was ahead. Does the ending take away from what made the rest of the movie good? Not really. Sure, the film does not stick the landing once it concludes, but by no means does it split its head open.

In the end, “A House of Dynamite” is one of the most thrilling pictures of 2025. Pardon my overuse of Christopher Nolan film comparisons, but the film somewhat reminds me of “Dunkirk.” This is due to the recently mentioned imperfection of the movie not exactly having a main character. Instead, the closest thing to it would be the main event itself. And it most certainly helps that the main event is quite exciting. The film overall is intense and nail-biting. And this is without getting to see the nuclear missile itself! Is this is Kathryn Bigelow’s best movie? No. I have such a soft spot for “Point Break.” Although if you are looking for another banger on her resume, look no further than “A House of Dynamite.” I am going to give “A House of Dynamite” an 8/10.

“A House of Dynamite” is now available on Netflix for all subscribers.

Thanks for reading this review! My next review is going to be for “The Smashing Machine!” Stay tuned! Also, look forward to my thoughts on “Shelby Oaks,” “Frankenstein,” “Good Fortune,” and “The Running Man.” 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 House of Dynamite?” What did you think about it? Or, what is your favorite Kathryn Bigelow movie? Let me know down below! Scene Before is your click to the flicks!

Bone Lake (2024): Small Cast, Short Runtime, Scareless Movie

Posted on by Jack Drees

“Bone Lake” is directed by Mercedes Bryce Morgan (Fixation, Five Points) and stars Maddie Hasson (Twisted, Malignant), Alex Roe (The 5th Wave, Hot Summer Nights), Andra Nechita (Inhumans, Matlock), and Marco Pigossi (High Tide, Gen V). This film centers around a couple whose vacation is interrupted when another couple shows up at the house where they happen to be staying, and eventually thwart them into a string of mind games and manipulation.

My exposure to “Bone Lake” before checking out the film last month in theaters was minimal. On top of reviews and posters, the little online marketing I happened to see, appeared to tap into the movie’s sensual nature. There is a saying that sex sells, and it seems to have sold me.

But good marketing does not automatically guarantee a solid flick, and a solid flick “Bone Lake” is not. Is this movie broken? No. In fact, it starts off quite well. It introduces a couple who arrive at their vacation rental, enjoy some intimate moments together, only to find out that they supposedly booked the house the same weekend as another couple. Okay, maybe the filmmaker really enjoyed “Barbarian,” which starts off in almost the same way. Although this film starts off with four characters getting into a conflict rather than two. I cannot blame them for taking inspiration from one of the decade’s best horror films.

Around the first 10, 20 minutes, I was onboard. It introduces both couples and puts them in a situation that neither of them want to be a part of, but they make do. Once the film gets into its first act of backstabbing, that’s where this Jenga tower starts to loosen, and eventually, topple. And it is sad, because backstabbing and a lack of trust seems to take center stage for a majority of the film’s runtime.

The film sometimes feels tonally inconsistent. Do not get me wrong, I can obviously claim that this is a horror flick, and I have a strong feeling most people would agree with me for that assessment. But the characters have this grounded nature to them, but they progressively evolve into personalities that can be found in a Saturday morning cartoon, either through their general tone, or their backstories.

I did not think I would be bringing up an old GEICO commercial during this review. That said, for those of you who remember the ad with the voiceover, “If you’re in a horror movie, you make poor decisions, it’s what you do,” I thought about that ad at least once or twice while watching this movie, because there are some choices the characters make that had me wondering about their IQ. Maybe it is unfair of me to say this because I am not a character in the film and rather someone observing them, but as this movie progressed, I could not help but wonder why the main couple would not simply try to leave at the first sign of trouble. When it comes to brainwashing, these two seem to be fairly easy targets. For those of you who watch the “Pitch Meeting” sketches on YouTube, you’ll understand… There are certain moments that take place throughout the story for what appears to be only one reason. That reason being, “so the movie can happen.”

There is a decent movie somewhere in “Bone Lake.” It has plenty of flaws, no doubt. It could be scarier. The characters could be written better. But I will admit that I liked some of the production design. The locations were not bad. Some of the camerawork is creative. And even though the movie does not progress fantastically, it does start off with a pinch of intrigue. The tone appears balanced at first, only for said balance to fizzle over time. I probably would have liked this movie more if it constructed its characters like they are human beings, rather than cartoons or puppets.

The film also builds up its main couple rather well. After all they are on vacation, they’re alone, so of course, they have sex. The film does a good job at establishing how Diego and Sage feel about their relationship from a sexual perspective. It shows the divide the two seem to have in that regard, and while there are some elements of the movie that topple, that is one that works with time. This is especially true when considering the tension and rivalry that tends to build between Diego and Sage and the other couple, Will and Cin.

There is a saying that a bad ending can ruin a good movie. In the case of “Bone Lake,” the opposite is true. This film, as explained, is not my favorite of the year. But what happens in the last scene is satisfying and also does a good job at fulfilling a certain part of the movie that was heavily built up. I wish I could explain it, but the film does end on a rather satisfying note that if I were to dive into it any further would mean I would have to drop enormous spoilers. This does not mean I am recommending the film, it just means the ending is clever despite the project’s other flaws.

This is a film that gets crazier and crazier as it goes along, but not exactly in a good way. If anything it kind of reminds me of “Argylle” where the story becomes more annoying with each reveal or twist. By the time the film enters the third act, a part of me wanted to tune out. Then again, part of me sees half of this film as a fun watch with drinks perhaps. I do not drink alcohol, but I can see this as a film where one can invite some friends, get schnockered, and let the fun begin. Whether this is a positive or a negative, I will let you be the judge. Despite this movie featuring two main couples and having a name that is a double entendre, I unfortunately cannot say this is the best date movie. Also, despite this movie trying to go for a tense, eerie rivalry between two couples, I unfortunately cannot say this is the best horror flick. This is not scary, not interesting. Honestly, it is rather forgettable. With a 94 minute runtime, the film is short, but it is certainly not sweet.

© 2025 – Bleeker Street

In the end, “Bone Lake” doesn’t satisfy. Are there building blocks for a good movie? Sure. But at best, this film feels middle of the road. It is a well-crafted and polished-looking film for what it is, but I wish I liked the characters and story a lot more. I was engaged in the beginning, but the film lost me around act two and kept me unplugged in act three. If you want to see a better horror movie involving a double-booking at a vacation rental, just go watch “Barbarian.” I am going to give “Bone Lake” a 4/10.

“Bone Lake” is now available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for “A House of Dynamite!” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Smashing Machine,” “Shelby Oaks,” “Frankenstein,” and “Good Fortune.” 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 “Bone Lake?” What did you think about it? Or, did you see “Barbarian?” What did you think about that movie? Let me know down below! Scene Before is your click to the flicks!

If I Had Legs I’d Kick You (2025): Rose Byrne Expertly Conveys the Chaos of Motherhood in This Anxiety Trip of a Film

Posted on by Jack Drees

Courtesy of A24 – © A24

“If I Had Legs I’d Kick You” is directed by Mary Bronstein (Round Town Girls, Yeast) and stars Rose Byrne (Neighbors, Bridesmaids), Conan O’Brien (Late Night with Conan O’Brien, Conan), Danielle Macdonald (Unbelievable, The Tourist), Christian Slater (Mr. Robot, The Wife), and A$AP Rocky (Zoolander 2, Monster). This film is about a woman named Linda whose life and sanity hangs on by a thread as she has to deal with her child’s illness, her job, her husband, and a missing person.

I saw the trailer for “If I Had Legs I’d Kick You” during my screening for “Eleanor the Great,” and I was quite impressed with how much drama and stakes that piece of marketing was able to show off in just a couple of minutes. It gave a good tease to the movie’s tone, particularly endless anxiety. That may sound a little overdramatic. The world is not ending in this film. No evil force is trying to take over the universe. But that does not mean the film is incapable of showcasing the constant struggle that stands in the protagonist’s path.

I also noticed in the trailer, not to mention the poster, that this movie stars Conan O’Brien. Odd choice for a dramatic role, but it is cool to see him getting work. We’ll get back to him later.

As for the movie itself, this is one of the best of the year. “If I Had Legs I’d Kick You” is basically 2025’s “Uncut Gems.” The story is not exactly the same, but a lot of the visuals, shots, and edits feel like they come out of that 2019 thriller. It should not be a surprise, considering this film is also being distributed by A24, and Josh Safdie just so happens to be a producer. The two movies feel like they have similar DNA. There was one visually trippy sequence about 5 to 10 minutes in containing voiceovers that kind of reminded me of the scene from the beginning of “Uncut Gems” where we are flying through the gem. Even in scenes where the dialogue is a bit slowed down, there is often a breakneck pace. Part of this is because of everything Rose Byrne’s character, Linda, has to deal with.

I am not a parent. I do not know if I will ever be a parent. We shall see. But this film does a great job showcasing the constant stress of being a parent. Granted, Linda’s situation is a bit more extreme considering her child is ill. At the same time, her husband’s basically out of the picture, and her home is falling apart. As a result of the latter, she has to find a place to stay until things get better. Even as someone who does not have kids, I have massive respect for parents and everything they do for their children. This film in particular reinforces my appreciation for them, especially moms. Every mom’s journey is different, but for Linda, several curveballs are being thrown into her path at once. It is almost impossible for her to catch them all.

“If I Had Legs I’d Kick You” may star Rose Byrne, but she is not the one who sold me on this movie. That would be Conan O’Brien.

Yes, that one. Which one would I be referring to? How many Conans do you know personally?

I may be letting some personal fanaticism get in the way, but if I see Conan O’Brien’s name on something, I instantly become more curious about it. Even for a project like this, which was probably one of the last things I would expect him to take on. O’Brien is naturally funny and kinetic. But in the case of “If I Had Legs I’d Kick You,” the late night host-turned podcaster seems to be taking a page from say Jordan Peele, who went on to make horror movies like “Get Out.” After all, both are known for their comedic talents, and if there is one thing many comedians know about, it’s timing. I laugh super hard at Conan O’Brien’s work not only because of the things he does, but when he does those things. This is also true for his role in this film. Despite the story being serious, the movie managed to get laughs out of me. One big laugh was courtesy of O’Brien himself. There is a scene where his and Byrne’s characters are sitting in a room together at a therapy office. Byrne’s getting something off her chest and O’Brien slowly takes in Byrne’s rant, then says… “Okay…” There are very few instances where the use of the word “okay” as a full statement has ever been funnier. The film definitely feels more dramatic than comedic, but Conan O’Brien’s character, much like his real life persona, is naturally hilarious through his presence and choice of words.

Heck, this film also has A$AP Rocky in it, whose acting experience appears to be rather limited. I still need time to think about what my favorite cast in a 2025 film happens to be. But I will verify that “If I Had Legs I’d Kick You” is certainly one of the most unique casts I’ve come across in a film released this year. Despite some unexpected names on the lineup, there is not a single bad performance in this film.

“If I Had Legs I’d Kick You” is a couple hours of complete and total chaos. It only offers a few moments to breathe, and if it were not for its talented cast led by Rose Byrne, it probably would not work as well as it did. Major credit also has to go to the work done behind the scenes. Lucian Johnston’s edits are as smooth as butter, despite them belonging in a film as dramatic as this. The shots brought to life by cinematographer Christopher Messina are meticulously framed. I also have to give kudos to Mary Bronstein, who not only wrote the film, but also directed it.

This feels like a singular vision. I could have never come up with a movie like this myself. And the movie is all the better because someone like me was not in charge of it. If this movie were written or directed by a man, I can guarantee it probably would not be as good as it is. This movie comes off as if it was written by a mother, most likely for mothers. I am not saying this movie is exclusively to be enjoyed by mothers. But I think a lot of mothers will appreciate this film in one way or another. That said, Bronstein is a mother herself. To top things off, while not entirely based on true events, the film is in fact inspired by Bronstein’s time caring for a sick child. This film is written from the heart and just so happens to be powerful enough to send chills down my spine. I have no idea how much money this film is going to make, but I highly encourage anyone reading this to give this movie a chance. It is a raw, thrilling story that may not be every mother’s personal experience, but is likely something close to every mother’s worst nightmare.

In the end, “If I Had Legs I’d Kick You” is more than just one of the best movie titles of 2025. It just so happens to be one of the best movies of 2025. As an experience, this film is incredible. Despite its unique cast, it offers some of the year’s best performances. Mary Bronstein offers a vision that only a mother like her could give. And the movie maintains a neverending level of anxiety liken unto “Uncut Gems.” I am going to give “If I Had Legs I’d Kick You” a 9/10.

“If I Had Legs I’d Kick You” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Tron: Ares.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Bone Lake,” “A House of Dynamite,” “The Smashing Machine,” “Shelby Oaks,” and Guillermo del Toro’s “Frankenstein.” 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 “If I Had Legs I’d Kick You?” What did you think about it? Or, what is a movie you really enjoyed about parenting? On that note, if you guys have not seen last year’s brilliant animated film “The Wild Robot,” please give it a chance whenever you can. Although some of you reading this probably have seen it because it did win Best Picture at the 7th Jack Awards. If you have not seen it, listen to those people who voted and give the movie a shot! Scene Before is your click to the flicks!

One Battle After Another (2025): Leonardo DiCaprio Delivers the Performance of a Lifetime in Paul Thomas Anderson’s Excellent Thriller

Posted on by Jack Drees

“One Battle After Another” is directed by Paul Thomas Anderson (Licorice Pizza, The Master) and stars Leonardo DiCaprio (Titanic, Inception), Sean Penn (Daddio, Licorice Pizza), Benicio del Toro (Guardians of the Galaxy, Sicario), Regina Hall (Think Like a Man, Scary Movie), Teyana Taylor (White Men Can’t Jump, Coming 2 America), and Chase Infiniti (Presumed Innocent). Inspired by Thomas Pynchon’s novel “Vineland,” this film is about an ex-revolutionary who must save his daughter from a corrupt military official.

As much as I beat a dead horse with this phrase, I only say it because it is true. To me, there are many cases where an artist can only be as good as their last project. Sure, Yorgos Lanthimos is a director with an admirable hustle, but after “Kinds of Forgettable–” err, I mean “Kinds of Kindness,” I am a little nervous about his latest project, “Bugonia.” Kind of like Lanthimos, I was nervous about what would be in store for “One Battle After Another” especially after the infuriating couple of hours I had watching “Licorice Pizza.” Is it a well made film? Sure, in certain regards. But in terms of characterization, plot, perhaps even pacing, I found the end result to be fairly off-putting. It is not to say that Paul Thomas Anderson is an incompetent director. While it has been years since I have seen “The Master,” I do remember it being beautifully made, so Anderson has his ups and downs.

I saw this film a week after it came out. Not because I wanted to stall on it, but because by complete coincidence, I happened to be staying in New York City for a weekend, and I wanted to see the movie in IMAX 70mm. Anytime you hear people say that they saw the next great masterpiece, it is a sentiment that you have to take with a grain of salt. I will only believe the hype when I see it. Plus, the marketing did not do a lot for me. It gave me an idea of the tone, but I thought there was no real oomph to what was on screen. The biggest selling point seemed to be the names Leonardo DiCaprio and Paul Thomas Anderson. I am not critiquing this. If you have talent, sell it. But as far as the movie itself, the marketing did not do it for me.

Photo Courtesy Warner Bros. Pictures – © Warner Bros. Pictures

Before this goes off the rails any further, I must say “One Battle After Another” is a magnificent piece of cinema. Is it my favorite film of the year? Not quite. But I am also having trouble coming up with genuine problems. There are problems that come to mind, but if my reviews for “Risky Business” or “Revenge of the Nerds” shows anything, I can still dig a movie despite its flaws. One personal problem would probably force me to spoil part of the film’s climax. But let’s just say that as “cool” and “shocking” as it was for the movie to unveil a choice they made for a major character, I questioned the logic behind said choice. I also find the film’s pacing to mostly work, though I must admit that the movie does start off slow and gets better as it goes. This is not to say that the film is bad, but if I had to name a weakest part of the film, it would probably be the first twenty minutes or half hour.

By the way, if you are looking for a short movie, you will want to sit this one out. “One Battle After Another” is two hours and fifty minutes long. I know for some of you this might be intimidating, but at the risk of sounding like a pervert, size does not matter, it is what you do with it. And Paul Thomas Anderson does his best to deliver a spectacular vision made for the big screen.

If you get a chance to see “One Battle After Another” in a theater, please do. The film is easy on the eyes thanks to Michael Bauman’s cinematography, as well as the ears courtesy of Jonny Greenwood’s score. There was a point during the film’s climax where my chair was vibrating like I was at an NFL game.

Speaking of cinematography and camerawork, this film is one of the cleanest I have seen this year. While “One Battle After Another” may not be the most colorful movie, it makes the most of its rather limited palette to the point where everything that’s on the screen pops. There is also a riveting chase scene towards the end of the film that basically turns the road itself into a character. The film contains a shot where we see the road winding up and down and it helped set the mood for what’s to come. Visually, this movie needs no notes. It is also heavily enhanced when watched in the film’s native 1.5:1 aspect ratio, which is typically used for VistaVision.

Photo Courtesy Warner Bros. Pictures – © Warner Bros. Pictures

Going back to the marketing of this film, I mentioned that one of the biggest selling points for “One Battle After Another” is Leonardo DiCaprio. And why wouldn’t he be? He has starred in some of the best films in the past couple decades. Like usual, DiCaprio gives his performance his all. Also, the more I think about his performance, the more I come to a conclusion that I am proud to wear on my sleeve. There are not many other people that I could see playing a character of this type as well as Leonardo DiCaprio could. Maybe Brad Pitt… Perhaps Sam Rockwell… Those two names come to mind. But the more I look at this role and think about the way it was executed, it comes off as if it was written with Leonardo DiCaprio in mind. We see him start off as part of revolutionary group as Pat Calhoun, and he later evolves into a washed-up stoner who goes by Bob Ferguson. You can the see the range coming from DiCaprio as he effectively portrays multiple portions of his character’s life. I also found some scenes featuring the character to be laugh out loud funny. There is a phenomenal gag in this film involving a “rendezvous point” that had me rolling on the floor.

Paul Thomas Anderson and Leonardo DiCaprio are celebrated veterans in the industry, but “One Battle After Another” may also be responsible for some people’s big breaks, including Chase Infiniti, who plays Leonardo DiCaprio’s child. I dug the back and forth between these two. Going back to the evolution of DiCaprio’s character, I thought Infiniti did an superb job at channeling her character’s distaste for her father’s resorting to drugs or his overprotectiveness. Chase Infiniti’s career is likely only getting started and this film is going to open so many doors for her. I look forward to seeing what she does next.

In the end, “One Battle After Another” is an experience. Is this my favorite movie of the year? No. But it is an exquisitely crafted piece of cinema in multiple regards. It is one of the best looking movies of the year. It has one of the best casts of the year. The story, while sometimes slow, is engaging. It is a satisfying film that balances serious topics like political extremes and revolution while also having time to insert scenes where Leonardo DiCaprio acts like a complete buffoon. This movie is a massively successful balancing act. I am going to give “One Battle After Another” an 8/10.

“One Battle After Another” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “If I Had Legs I’d Kick You,” stay tuned! Also coming soon, I will be sharing my thoughts on “Tron: Ares,” “Bone Lake,” “A House of Dynamite,” “The Smashing Machine,” “Shelby Oaks,” and Guillermo del Toro’s “Frankenstein.” 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 “One Battle After Another?” What did you think about it? Or, what is your favorite Paul Thomas Anderson movie? Let me know down below! Scene Before is your click to the flicks!

The Lost Bus (2025): Matthew McConaughey Gets Into Gear in This Engaging Disaster Movie

Posted on by Jack Drees

“The Lost Bus” is directed by Paul Greengrass (News of the World, The Bourne Supremacy) and stars Matthew McConaughey (Interstellar, Sing), America Ferrera (Barbie, How to Train Your Dragon), Yul Vazquez (Midnight, Texas, Russian Doll), Ashlie Atkinson (The Gilded Age, Mr. Robot), and Kate Wharton (Matty Paz Is a Noob, The Bold and the Beautiful). Inspired by Lizzie Johnson’s book “Paradise: One Town’s Struggle to Survive an American Wildfire,” this film tells the true story of school bus driver Kevin McKay, whose normal day on the job suddenly turns into an all out mission of rescue and survival when he comes face to face with the deadliest fire in California history.

In my daily life, I use Windows computers and an Android phone. Nevertheless, I am not too much of a scaredy cat to admit that Apple has made its presence known in the film industry. It is not a perfect presence, but I will note that they have a few fine feathers in their cap between their Academy Award Best Picture winner “CODA” as well as this summer’s smash hit “F1: The Movie.” The studio has made top talent a priority, having released projects made by directors like Joseph Kosinski, Martin Scorsese, and Ridley Scott. The end results of these projects had varying degrees of success, but it does not change the fact that these are typically trustworthy names. Another name on that list is “The Bourne Supremacy” director Paul Greengrass.

While I do not hold Paul Greengrass amongst my favorite filmmakers of all time, I will not deny his ability to make a great movie. In fact, one film I remember fondly reviewing was the western “News of the World,” a road film featuring an unlikely duo. I thought the story was captivating and has arguably become more relevant with time.

Finding out about Paul Greengrass’ role behind the camera got me in the door. Love it or hate it, I will admit, his shakycam techniques work here. There are several kinetic shots around the second half that added to the tension and atmosphere of what is ultimately a well done disaster film. While Greengrass may be behind the camera, those in front of it kept me engaged too, most especially stars Matthew McConaughey and America Ferrera.

There are some films that have star power and fail to stand out for any reason other than that. “The Lost Bus” is not one of them, because the film is a scary, exciting ride. I watched this film on the first day of October, and despite “The Lost Bus” not being a horror movie, it honestly set the tone for the month. Few things are scarier than seeing children enter imminent doom, and this film is not short on such nightmare fuel. “The Lost Bus” is based on true events, and while there are parts that definitely feel blown up for the sake of theatricality, the film works so well because of how intense it ended up being. “The Lost Bus” is basically this year’s “Deepwater Horizon.” It is a film revolving around an everyday white dude with black hair and a distinctive flair, who must go beyond the call of duty to save himself and those around him, even as the worst case scenario of a disaster comes to fruition. I do not think the film is as good as “Deepwater Horizon.” “The Lost Bus,” in a sense, takes some time to get going. I would argue that maybe the second half of the film is better than the first. That said, once it gets to said second half, it goes full throttle and never stops.

Matthew McConaughey’s character, Kevin McCay, is beautifully fleshed out, as he should be. We know a lot about him, his family, and the personal problems of his life and career. We see him having trouble maintaining relationships with loved ones, as well as a sense of work-life balance. He comes off as a genuinely likable guy, but one who is noticeably flawed. I also liked getting to know some of McCay’s family members. They all seemed to have lifelike chemistry, which makes sense because some of McConaughey’s real life family, including his son Levi and his mother Kay, have major roles in the film.

The film industry is no stranger to nepotism. It is a concept that has its ups and downs, but if the project works, I do not tend to care as much. That said, I do not have as much of a problem with McConaughey’s son and mother being cast because they perfectly play their roles. While their screentime is not as long as say America Ferrera, who does a great job playing a school teacher trying to make it through the fire, I thought both Levi and Kay McConaughey did a great job. If they were cast in another film down the line, I would be interested in seeing them again.

Unfortunately, with this being an Apple movie, this did not get the most proper of theatrical releases. I was lucky to catch this film while it was playing at my local Showcase Cinema, and I am glad I did not miss out because this film is, to my surprise, super effective with its camerawork and incredibly immersive. I am not the biggest fan of shakycam, but as I hinted previously, it works for this story. I can see some people watching this movie and maybe not being a fan of the way it was shot, but for me, I thought the rapid camera movement put me in the middle of several scenes. It gave me the illusion that there was fire spreading around me rather than watching a group of people simply trying to survive a fire themselves. This film is shot by Pål Ulvik Rokseth, a name I did not know that well, but I was impressed to find out he also filmed a short and chilling IMAX spot that I occasionally caught inside their theaters. I am glad to see he is getting more work.

In certain ways, “The Long Bus” is kind of like “The Long Walk.” Both films present the most basic premise where our characters are in seemingly never-ending danger and they must survive to the end. Only in the case of “The Lost Bus,” this is more of a man vs. nature tale rather than one of man vs. man. Is this film as good as “The Long Walk?” Not really. But that is also a bit of an unfair comparison because I can think of very few films released this year that are. If you want to see a compelling narrative that shows people doing everything they can to protect themselves, protect others, all while dealing with something as dangerous as a wildfire, then “The Lost Bus” may be your jam. The fire itself may be the main event of the film, but the story is surprisingly not short on characterization. Said characterization is probably enhanced by the fact that this film is based on a true story..

In the end, “The Lost Bus” is an engaging tale of survival. Matthew McConaughey and America Ferrera make for an excellent duo. From a visual perspective, this movie spares no expensive between the excellent shaky camerawork and the eye-popping fire effects. There are some liberties taken with this story. One teacher attached to the original tale declined to be involved with this film. However, this tale was beautifully adapted. It is one of those stories that shows the best of humanity. It shows the good people are willing to do in the worst of times. This movie is two hours and nine minutes. Frankly, it feels quite a bit shorter than that. It flies by. Especially in the second half. If you have Apple TV and you have a couple hours to kill, this is a good time. I am going to give “The Lost Bus” a 7/10.

“The Lost Bus” is now playing in select theaters and is available on Apple TV for all subscribers.

Photo Courtesy Warner Bros. Pictures – © Warner Bros. Pictures

Thanks for reading this review! My next review is going to be for “One Battle After Another.” Stay tuned! Also coming soon, I will be sharing my thoughts on “If I Had Legs I’d Kick You,” “Tron: Ares,” “Bone Lake,” “A House of Dynamite,” “The Smashing Machine,” and “Shelby Oaks.” If you want to see this review 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 Lost Bus?” What did you think about it? Or, what is a film you enjoyed recently that is based on a true story? Let me know down below! Scene Before is your click to the flicks!

The Long Walk (2025): No Missteps, No Filler, All Killer

Posted on by Jack Drees

© Courtesy of Lionsgate

“The Long Walk” is directed by Francis Lawrence (The Hunger Games: Catching Fire, Red Sparrow) and stars Cooper Hoffman (Licorice Pizza, Saturday Night), David Jonsson (Alien: Romulus, Industry), Garrett Wareing (Perfect, Manifest), Tut Nyuot (The Dumping Ground, Dark Money), Charlie Plummer (Words on Bathroom Walls, Moonfall), Ben Wang (American Born Chinese, Karate Kid: Legends), Joshua Odjick (The Swarm, Sweet Summer Pow Wow), Roman Griffin Davis (Jojo Rabbit, The King of Kings), Josh Hamilton (Eighth Grade, Reality), Judy Greer (The 15:17 to Paris, Ant-Man), and Mark Hamill (Star Wars, The Wild Robot). This film is based on a Stephen King novel of the same name and centers around a group of young boys who compete in an event where they must keep walking to the finish line at three miles per hour, or die.

Photo by Murray Close/Lionsgate/Murray Close/Lionsgate – © 2025 Lionsgate

“The Long Walk” is the latest work from Stephen King to be adapted for the screen this year following “The Monkey,” which I did not see. As well as “The Life of Chuck,” which I did see and I can confirm it is one of my favorite films of 2025. What brought me out to “The Long Walk” is the same thing that brought me out to “The Life of Chuck,” the marketing. Although in this case, the vibe that the “Long Walk” campaign seemed to be going for was a lot darker and gorier. I dug what the team was going for. But there have been great trailers to bad movies. Just look at my review for “Godzilla: King of the Monsters…”

Thankfully, that is not the case with “The Long Walk,” which is more than just a great film, it is among my favorites of the year. When I left this film, the first thought on my mind was, “How does this rank against ‘The Life of Chuck?’” I have no clue what my best movies of the year list is going to look like, but right now there are two Stephen King adaptations that are serious contenders to be on the top half of the list.

Photo by Murray Close/Lionsgate/Murray Close/Lionsgate – © 2025 Lionsgate

“The Long Walk” supports the notion that sometimes the simplest ideas can make for the grandest stories. The concept of this film is that a group of young men have to walk and avoid getting shot to death. If what I described sounds somewhat boring, I get it. But this movie is much more than meets the eye. The cast may move at a slow pace, but this film is all killer, no filler from beginning to end. This story wastes no time getting straight into the event. We see a letter written to the protagonist, Raymond Garraty, saying he’s been chosen to participate in the Long Walk. Then we see have a moment with his mom, after which he exits the car and goes off on his adventure. This beginning offers a perfect blend of mystery and nerves. Seeing Garraty leave the car reminded me of what it would be like to see your child going off to fight in the military. You do not know what is going to happen. You are fearful of whatever is bound to happen. And you absolutely, positively do not want to see your child get seriously hurt.

This film is directed by Francis Lawrence, whose resume includes the “Hunger Games” franchise. The film does, at times, have a “Hunger Games” vibe considering it is set in the future, and everyone is playing a game where only one can survive. That said, unlike “The Hunger Games,” which features a lot of buildup before the games, the “game” in “The Long Walk” goes on for practically the entire runtime. Again, it does not take long for the game to start, and once it finishes, it does not take that long for the film to end. Speaking of which, if I had any critiques for the film, the ending does feel a smidge unfulfilling, but this film is consistent with its ending based on how quickly it tends to get to the point.

I do not think it is a spoiler at this point to say that people die in “The Long Walk.” Heck, people die in lots of movies. Sorry if I ruined most of your unwatched entertainment. “The Long Walk” is not breaking new ground. But I do dig how it handles its deaths. I did not read the book so I cannot comment on any differences between the film and the source material, but every death in this movie, to some degree, feels appropriate and earned. It does a great job at picking who lives and dies at certain times of the film. It allows time for certain characters to flesh themselves out, and when said characters die, it makes those deaths all the more gripping. The film has a number of characters who linger in the background, but those put in the foreground are all stellar. I enjoyed getting to know every single one, even if they were written in such a way where it was clear the movie was trying to get you to root against them.

Photo by Murray Close/Lionsgate/Murray Close/Lionsgate – © 2025 Lionsgate

This movie stars Cooper Hoffman (center), who continues to make a name for himself after his breakout role in 2021’s “Licorice Pizza.” I had some problems with “Licorice Pizza.” Hoffman’s ability to give a competent performance is not one of them. Similarly, he does a commendable job in “The Long Walk.” Hoffman plays the incredibly layered Ray Garraty. I enjoyed not only getting to know the character in the present, but the movie also effectively uses flashbacks to tell his story and detail his background.

Photo by Murray Close/Lionsgate/Murray Close/Lionsgate – © 2025 Lionsgate

When I think of Mark Hamill, my mind unfairly darts to thoughts of Luke Skywalker. What can I say? I live for “Star Wars.” But forget everything you know about that hero, because Hamill slips into the antagonist role of the Major with ease. He is a character that I love to hate. Hamill plays the part with such a stern, demanding tone where I could easily tell he was having a ball on set. Hamill’s dialogue in the film is minimal, and often to the point. But whenever he does speak, every line is a highlight. They say a movie is only as good as its villain, so by that logic, “The Long Walk” is exceptional. Hamill’s performance is so well-delivered that I cannot see anyone else in his shoes.

In the end, “The Long Walk” is one of the best movies of the year. This film is not for everyone, but if you can handle some blood and gore, I think you are going to have a ball from the first scene to the last. “The Long Walk” is more of a thriller than a horror flick, but it has a lot of elements that would make a “horror” flick so admirable. “The Long Walk” is a concept that is as simple as it gets, but it is done as perfectly and exquisitely as possible. I am going to give “The Long Walk” a 9/10.

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

Thanks for reading this review! My next review is going to be for “A Big Bold Beautiful Journey.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Him,” “Eleanor the Great,” “The Lost Bus,” and “One Battle After Another.” 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 Long Walk?” What did you think about it? Did you read the book? How does the film compare to it? Let me know down below! Scene Before is your click to the flicks!