“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.
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!
“Civil War” is directed by Alex Garland (Ex Machina, Annihilation) and stars Kirsten Dunst (Spider-Man, Wimbledon), Wagner Moura (Elite Squad, Puss in Boots: The Last Wish), Cailee Spaeny (Priscilla, Pacific Rim: Uprising), Stephen McKinley Henderson (Dune, Lady Bird), Sonoya Mizuno (House of the Dragon, Devs), and Nick Offerman (Parks and Recreation, The Founder). This film is set in a dystopian future United States and centers around a group of people trying to make it to Washington, DC before rebel factions descend upon the White House.
As I have said on this blog before, some of my favorite directors working today include Christopher Nolan, Damien Chazelle, and Quentin Tarantino. Those are usually the big three that come to mind. Although one director I happen to admire somewhere down that list is Alex Garland. I love his directorial debut, “Ex Machina.” A film that has become increasingly relevant and captivating with age. Looking back at his sophomore directorial effort, “Annihilation,” I think that film is a slight step down. But there is a lot that works in that film. Visually, it is uniquely stunning. Natalie Portman does a great job in the lead role. As an experience, I found parts of the film trippy, intriguing, and even a little terrifying. Looking back, it also has one of the better musical scores of the past decade. As for Alex Garland’s next movie, “Men,” I cannot say I hated it… In a thumbs up, thumbs down world, it is a thumbs up. The actors do a good job. The color palette and overall aesthetic pops. But it felt like there was something missing from that film. It lacked an oomph of sorts. Naturally, I was curious about “Civil War.” Even with that in mind, I was not fully sure where to set my expectations. I thought this movie could go one way or another. It was either gonna stand out in such a positive way or in such a negative way. Turns out, it does both.
“Civil War” is not a movie I am going to recommend for everyone. If you are looking to have a good time, then maybe go see something else. I am not saying that “Civil War” is a terrible movie. It is far from being bad. But if anything, it reminds me of when I watched say “12 Years a Slave,” which to a certain degree, is not the happiest watch. The two movies are completely different in terms of plot and execution, but they deliver similar feelings of uneasiness. This movie made me feel genuinely uncomfortable. There are scenes in this film where I am tittering in my seat because the context of said scene is frankly disturbing to say the least. And honestly, and I mean this as a compliment in regards to “Civil War,” some of those scenes feel real. Or if not real, genuine enough to the point where I believe it could happen. This is especially true for one scene that has caught my attention since first watching the trailer.
If you saw the marketing for “Civil War,” you have probably seen Jesse Plemons on screen. He plays an ultranationalist and he owns the role to the tenth degree. I am sure Plemons is the nicest of guys in real life, but I would never want to come across this character in my travels. His portrayal of this character, simply known as “Soldier,” is delivered with subtlety, but even his calm mannerisms pack a punch. Whenever he is on screen, I am simply waiting to hear a pin drop, or anything else that would get me to jump out of my chair. I know I just saw “Abigail,” which by definition, is a horror movie prominently featuring a vampire. But I have to be real, compared to Abigail, Plemons’s character is nightmare fuel.
The strongest point for “Civil War” is how easy it is for me to feel like I’m in the middle of the action. I saw this movie in IMAX, and of the IMAX experiences I had, this is one of the more interesting ones. Because when I go to IMAX, I go for the thrills, the chills, and the excitement that, like the opening countdown suggests, CRYSTAL CLEAR IMAGES and EARTH-SHATTERING SOUND can bring. This movie was almost too loud at times, but I also think that from Garland’s point of view, that was on purpose. The gunfire, explosions, and all the other ruckus of war were dialed up to an 11 to the point where I felt like I was there. Part of me assumed I was actually in the moment with Kirsten Dunst or whoever else was on screen at the time.
Kirsten Dunst plays Lee (left rear), a photojournalist. When it comes to defining a main character for “Civil War,” it seems as if there are limited solid options on the table. This movie is a controversy generator, but I will note that when it comes to selecting a main character, a photojournalist like Lee is a smart choice. Lee is active enough to the point where she is technically involved in the war, but her job basically keeps her from picking a side. Dunst is well cast in the role and delivers quite a performance. She does a good job.
The film may be called “Civil War,” but at its core, you could argue that this film is essentially a road trip movie. It is about a group of characters trying to get from point A to point B with the intentions of running into as few obstacles as possible. Along for the ride is Wagner Moura as Joel (right front), a Reuters journalist. Stephen McKinley Henderson as Sammy (left front), a New York Times journalist and Lee’s mentor, and Cailee Spaeny as Jessie Cullen (right rear), an aspiring photographer. All of these actors fit into their roles nicely and have good chemistry. Casting-wise, this movie hit the jackpot.
As I said earlier, “Civil War” is a movie that stands out to me in both a positive and negative way. In addition to the balance between the thrills and all around discomfort this movie brings to the table, this notion also stands true for its technical aspects. I have already talked about how the sound does its job while also coming off as one of the movie’s drawbacks. But much like the sound, the film editing has my brain driving itself in circles.
There are points in this movie that had me thinking to myself that the editing is not just great, it is a contender to win an Oscar next year. In fact, the editing in this film, in addition to being perfectly paced, spectacularly highlights the power of photojournalism. This is something that is personal to me as someone who has spent the past year working in news, but also as someone who has taken journalism classes in college. But if I have one thing to say about the final edit, it is that there are a couple of music choices that are about out of left field. I think the film’s music, for the most part, works. But there are one or two instances where I found myself perplexed.
As for the film’s reflectiveness of our society, obviously there are moments that feel genuine enough that remind me of the world we live in today. But as for the idea that California and Texas could unite in war anytime soon, I found that to be a bit of a fantasy. At the same time though, I do not entirely care that they are in this war together. If this film felt more genuine than it is, chances are it would generate more controversy than it already unleashing amongst its audiences. I went to see a movie with a friend of mine in March. One of the trailers was for “Civil War.” Based on what she saw, she thought this movie should never have happened. Based on her words, I gathered she thought a movie like this could potentially be dangerous. Personally, I can see where she is coming from. This is why, again, if you are looking for are a looking for an escape, maybe this is not the movie for you. As for me, I think “Civil War” is one of the better films of the year. It is not quite on the level of say “Dune Part Two,” but much like that recent science fiction masterpiece, “Civil War” is technically powerful and delivers a one of a kind experience.
In the end, “Civil War” is not going to be a film I will end up watching on a Friday night anytime soon, but I am glad I checked it out. It is a film that is huge in scope, massive in world-building, but in terms of the overall premise, it is as simple as can be. The story is nothing more than just journeying from point A to B and making sure nobody dies along the way. The cast is well-rounded and marvelously put together. Jesse Plemons, despite not having an official credit, practically steals the show. Nick Offerman also does a good job as the President. I thought he fit the role perfectly. The film is not flawless. In fact, even the aspects of the movie that lean more positive have some glaring negatives attached. When it comes to ranking the Alex Garland movies, this is not as enthralling as “Ex Machina” or as exciting as “Annihilation,” but it is certainly more memorable than “Men.” I am going to give “Civil War” a 7/10.
“Civil War” is now playing in theaters. Tickets are available now!
Thanks for reading this review! While a lot of people ended up seeing “Civil War” when it came out, my next review on the other hand is for a film that practically no one bothered to watch. That my friends, is “Boy Kills World,” which only made a few million dollars at the box office. I am proud to be one of the lucky individuals that had the pleasure of watching this experience of a flick. I cannot wait to share my thoughts on it with you all. 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 “Civil War?” What did you think about it? Or, what is your favorite Alex Garland movie? Let me know down below! Scene Before is your click to the flicks!
“Sisu” is directed by Jalmari Helander (Big Game, Rare Experts) and stars Jorma Tomilla (The Christmas Party, Big Game), Aksel Hennie (Hercules, The Martian), Jack Doolan (The Boys, The Green Green Grass), and Mimosa Williamo (Headfirst, Lake Bodom). Set during the Lapland War, this film is about an ex-soldier who finds gold and must fend off Nazis on his journey into the city.
Some of the biggest studios today like Disney and Universal mostly rely on popular IP to keep their ships afloat. Lionsgate, while not being as big as those two, has done the same to respectable results. If you look at titles like “The Hunger Games,” “The Twilight Saga,” and “John Wick,” you would notice that these franchises have continued to receive sequels due to their popularity and recognition. Obviously with the first two, it helps when they are based on preexisting books. But “John Wick” is an interesting case where even a by the numbers movie with not the biggest, or smallest, of budgets can lead to a series of films that continues to receive praise from action junkies. While “The Hunger Games” is coming back and more of the “John Wick” universe is set to be unveiled in various stories, Lionsgate would benefit from a new franchise after “John Wick: Chapter 4.” After seeing one of the studio’s latest projects, “Sisu,” it has potential for expansion. That said, if I were not doing Scene Before, I would have mixed thoughts as to seeing another one of these movies if it were greenlit. I say this because I really enjoyed the movie, minus certain aspects that stuck out like a sore thumb.
This movie seems to be inspired by the “John Wick” formula. It centers around a man who happens to have a connection with a dog, and people attempt to get in his way. Therefore, he must stop them in perhaps the most diabolical, slickest way he can imagine. While it is a remix, I am not complaining because seeing Aatami do what he does best is satisfying to watch. There are some kills in this film that honestly rival a “Deadpool” movie or a Tarantino flick. While many action movies in recent years such as “Nobody,” “Wrath of Man,” or “Bullet Train” have a flair to them that reminds me of “John Wick” in some way, “Sisu” stands out because it is set long before those films. It is set during World War II, specifically through the Lapland War, where the rivals are Finland and Nazi Germany. If you are having trouble figuring out which side is represented as good and bad according to this movie, then you probably do not know where the title of this movie comes from.
That said, the title of this movie is quite fitting for the main protagonist of Aatami, because throughout the movie, his look comes off as someone who has seen everything that there is to see, and much of it was not good. And even in moments where he may look innocent, he will subvert expectations anyone had of him being a softie. We do not learn a textbook’s worth of information about Aatami, but we also learn enough to appreciate him. It hits the Goldilocks zone. All we learn is that he needs to get from point A to point B, with gold. Of course, since the opposition is Nazis, it makes it that much simpler to root for him.
“Sisu” is perfectly paced. Yes, there is a short runtime that may help some people, but that is not what I am necessarily pointing to. Within that short runtime, the film does very little, but it makes the most of its minimalistic nature. There are not too many characters, the plot is simple yet effective, and dialogue appears to be used sparingly. Speaking of small, the film cost €6 million (approx. $6.56 million) to make. This movie does a lot with that small budget, and despite the modest cost, it sometimes feels as big as some notable modern action blockbusters. The overall look, design, and feel of the film are perfect.
My biggest complaint with “Sisu” is that we get to a point in the movie, specifically during the third act, where I am having trouble believing anything that is happening. There are some good movies that exist that bend reality a bit such as some of the “Fast & Furious” sequels, “Kingsman: The Secret Service,” and “Scott Pilgrim vs. the World.” There are things in those movies that I would never expect to happen in real life, but they convince me that within the rules of their respective universes that they could be pulled off in that setting. There is something towards the end of “Sisu” that feels so off that it almost ruined the movie for me. Granted, the movie has a brilliant first half so of course I am going to praise it. The reason is because even though this movie jumps the shark quite a bit, it felt like it had a limit. And I know that this is an original film, this is not a spinoff or sequel that builds off of rules that already exist. But the movie flicked like a lightswitch. It went from ridiculous fun to colossal stupidity in a split second. It makes Dom Toretto’s Tarzan swing in “F9: the Fast Saga” feel real. I am not even joking.
This may sound like I hate the movie. I do not. If you scrolled down to this or the last paragraph, you may have missed my recent praise for it. I just think if I were in charge of the script I would have changed this one scene dramatically. There are a lot of other moments that had me laughing, gagging, or dropping my jaw with excitement. Much like the “John Wick” franchise, there are some highlight kills in this film for me that I continue to think about to this day. I recommend going to see this movie with a couple friends, maybe make it a guys night out. “Sisu” may take inspiration from other action flicks, but it does enough to make it its own thing. That said, if you do not like heavy violence or gore, you might want to sit this one out. Just a warning.
In the end, despite my one big complaint regarding “Sisu,” I have zero regrets having seen it. If Lionsgate or the other companies behind this movie wanted to recreate one of their most popular ideas but put it in World War II, they did so with excellence. It is a film that starts rather quiet, but its obnoxiousness increases with time. Sometimes for good, other times for bad. The film also supports the notion that if you make Nazis the villain, it is all the more satisfying to see a protagonist like Aatami potentially triumph. If I have any other recommendations, avoid the trailer. Don’t get me wrong. I watched the trailer for “Sisu” before going to see it. I think it is a good trailer. But I think this is one of those movies that is probably best viewed with a clean slate. It might increase some shock value. It is up to you, but if you want my two cents, that is what I have to give. Speaking of my two cents, I am going to give “Sisu” a 7/10.
“Sisu” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next review is going to be for “Guardians of the Galaxy Vol. 3!” And if you want even more upcoming content, I will also soon be talking about the new horror comedy “Renfield.” I waited a bit to watch this movie, but as to whether it is worth the wait, is a question that will be answered soon. 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 “Sisu?” What did you think about it? Or, what is a movie you like that has an ending that almost ruins it? Let me know down below! Scene Before is your click to the flicks!
“Devotion” is directed by J.D. Dillard (Sleight, Sweetheart) and stars Jonathan Majors (Loki, Lovecraft Country), Glen Powell (The Dark Knight Rises, Hidden Figures), Christina Jackson (The Good Fight, Swaggers), Joe Jonas (Camp Rock, Night at the Museum: Battle of the Smithsonian), Thomas Sadoski (The Newsroom, Life in Pieces), and Daren Kagasoff (The Secret Life of the American Teenager, The Village). This film is based on a book by Adam Makos, and simultaneously inspired by true events during the Korean War. The story mainly centers around the bond between two naval pilots, Tom Hudner and Jesse Brown, as they navigate themselves through various periods during said war.
As a reviewer, it is hard not to compare one film to another. This is especially true considering how most of the movies I review are those that come out within the year of release, therefore I will sometimes say “x” film is similar to “y” flick, because “x” and “y” are at the movies at the same time or at similar times. It is a repetitive habit, but one I do not see myself quitting anytime soon because they involve movies that continue to be on people’s minds, including my own. “Devotion” is no exception to this rule because it released about a half a year after one of the most successful films in a long time, “Top Gun: Maverick.” I am not saying that “Devotion” is a carbon copy of “Top Gun: Maverick.” In fact, it is far from it. For one thing, “Devotion” is based on a true story whereas “Top Gun: Maverick” is a fictionalized sequel. “Devotion” is also comparatively dramatic to “Top Gun: Maverick” despite the latter having glimmers of emotion.
This leads me to my first positive of “Devotion,” which is that the narrative kept me compelled from start to finish. Due to my country’s supposedly mediocre educational system, I maybe do not think about U.S. history as much as I should. I was thrilled with the story of “Devotion” to the point where I felt somewhat sorry for myself that I did not think about these pilots all that much earlier. What really helps this movie is not just having a story as solid as this, but having a duo of actors who are clearly meant to be together. Glen Powell and Jonathan Majors are two fine actors on their own, but if you put them together in a movie like this, the formula is bound to deliver something special. While there are better lead and supporting performances I have seen this year, I cannot think of many acting duos that are as memorable or likable as this one.
And no, this does not mean that this film fails to do what a lot of other war-set films like “Dunkirk” and “1917” manage to do effectively, which is immerse me into the environment of the war itself. Now, unlike those films, this is more of a story where we get to know the characters themselves and less of a run to the finish line for survival. I would not call this a bad thing, but if you are looking for a certain type of film, now you know which one you are in for.
I would say when it comes to the immersion factor though, I would say “Dunkirk” and “1917” did it better because those films felt like technical experiments or feats whereas “Devotion,” again, is an extended tale perhaps putting story and characterization in the forefront. However, the sound mixing is quite good and the aerial shots are occasionally nice to see in action. The film does not appear reinvent the wheel with its technical aspects, but is also pretty looking enough to be worth checking out in whatever theater it is playing in near you. I should note, that this film has been out for a month and it is not playing in a ton of locations near me, but it was worth the 20 minute trek to a nearby town.
Speaking of immersion, I was also kind of impressed with some of the production design. Part of the movie takes place in a French casino and it was all sandy yet rugged. The interior of Brown’s home is also a standout. Many of the locations in this film are impressive to say the least.
My favorite aspect of the narrative behind “Devotion” is probably not even anything having to do with war itself, which is prominently featured in the film. However my favorite parts of the film simply come through the training, all the preparation that went into the events that followed. To be specific, there are scenes where we see the pilots trying to land their plane. Usually when it comes to these war stories and films, the first thing that comes to mind when it comes to the protagonist is how they deal with being on the battlefield. I love how effectively “Devotion” has not only brought stakes in terms of the fight itself, but all the work that leads up to it. We see Jesse Brown nervous not because he anticipates he is going to get killed by the opposition, but because he fears he cannot land his own plane. Going back to “Top Gun: Maverick,” much of that movie, like its predecessor, is about training to fight an enemy and less about fighting the enemy itself. What makes “Devotion” work is how effectively the training, which reminded me of “Top Gun: Maverick” at times but with a more serious vibe, was executed in terms of the story and how that made everything in terms of the actual conflict that lied ahead more exciting.
There are not many major problems I have with “Devotion,” although I do think a few of the supporting characters are somewhat unmemorable. The real highlights of the character lineup in “Devotion” are the two leads. Although I must also say Christina Jackson shines as Daisy Brown. Although on the military side, unless I went to IMDb to find out, I could not tell you anybody’s name or real descriptive aspects of their personality. Then again, the story is not about them, so this is somewhat forgivable. Although “Devotion” is a thrilling, entertaining story nevertheless, and it is one that if given the opportunity, you should check out.
In the end, when it comes to movies about the navy, “Devotion” is no “Top Gun: Maverick,” but if you are looking for a more serious take on the subject matter, this is a a story that is worth your time. I did not know what to expect with “Devotion,” but I left the film having had a fine experience. Glen Powell is solid, Jonathan Majors is excellent, and the story is one that kept me interested to the very last second. I am going to give “Devotion” a 7/10.
“Devotion” is now playing in theaters. Tickets are available now.
Thanks for reading this review! Within a matter of days, I will be going to see one of my most anticipated movies in history. For the record, when I did my most anticipated movies of 2021 list, this made the #2 spot. Did I say 2021? Yes I did. It was supposed to come out then, but it got delayed to the following year. That film my friends, is “Babylon.” I know the film is not making a lot of money right now, but it is the kind of film that can get me in the door. I just have to find the right day to enter that door.
Also, I want to remind everyone that the end of the year is almost here, and pretty soon I will be counting down my best and worst films of 2022! I want to give a little housekeeping in advance and note that this year’s set of lists is going to be a little different, and it is inspired by a tactic from one of my favorite YouTube personalities, John Campea. This year, instead of doing my top 10 best list first, which I have always done in the past, I am going to start with the worst list. The reason for that is because I often share my best list first, leave it up for a day, and then the next, I am onto the worst, which has sometimes left me a break in regard to posting new material. Within that break, I have the worst list linked to my Instagram (realscenebefore) because Instagram hates links for some reason, and that means my Instagram followers might end up seeing my worst list for a longer period of time than my best. And on Scene Before I want people to remember me for what I love and not what I hate. I love doing the worst lists, and I will still do them, but I do not want to be a monster. That said, if you want to see these lists and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Devotion?” What did you think about it? Or, what is an acting duo from a movie this year that you enjoyed seeing? Let me know down below! Scene Before is your click to the flicks!
“Profile” is directed by Timur Bekmambetov (Wanted, Ben-Hur) and stars Valene Kane (Rogue One: A Star Wars Story, The Fall), Morgan Watkins (Kingsman: The Secret Service, Wild Bill), Shazad Latif (Star Trek: Discovery, Penny Dreadful), Christine Adams (Batman Begins, Black Lightning), and Amir Rahimzadeh (The Heights, Our Girl). This film is based on a book written by Anna Erelle titled “In the Skin of a Jihadist” and follows a woman named Amy who has been doing research on younger girls who end up joining ISIS. As part of her research, she creates a Facebook profile and connects with a real ISIS fighter named Bilel. While doing so, the two develop a bond of sorts that may affect the future of her career and her life.
Right off the bat, I just want to note that “Profile” is quite a fascinating film because it is done entirely through screens. By this I mean the screens of computers and other similar electronic devices like phones. I find it intriguing because kind of like “The Blair Witch Project” exposed back when it came out, it shows that not all movies need to be done on advanced cameras. Now whether that is a positive thing or not, that is up to the viewer. It is all subjective. But I will admit, I was somewhat skeptical on this idea because we’ve had projects like this before, and they did not sound like they were for me. One of the more notable ones I could think of is “Unfriended,” which involves a supernatural force using the account of a dead person. At the time, I just did not have any interest. And as much as some of you will *hate* me for saying this, “Paul Blart Mall Cop 2” was the much more attractive option at the box office the weekend “Unfriended” came out. I saw it theatrically for two days in a row for crying out loud! “Unfriended” got a sequel, specifically titled “Unfriended: Dark Web.” Much like the original, I never saw it. Although one film I was interested in seeing in 2018 happened to go by the name of “Searching.” The film received incredibly positive reviews from critics and average moviegoers. I saw a lot of movies in 2018, but unfortunately “Searching” was not one of them, and I cannot say I have tuned into it since. But “Profile” takes elements of those recently mentioned films because it is almost completely showcased through a screen capture. At times, this film felt more like a fast-paced and unusual Twitch or YouTube stream than an actual flick. Despite not having much detail to work with other than what is on a computer screen, the film nevertheless manages to keep an insane pace from start to finish. I was never bored or uninterested with what was going on. To be completely honest, “Profile” is almost the most intense film I have watched this year.
Not only does it deal with somewhat relevant true events, not only does it take a successfully creative approach to the art of filmmaking, but it is a film that makes the most of what it has. This is my first foray into the endless computer screen camera movie approach, or screenlife is some might call it, and I think I may want to see more, specifically if they are as good as this. Now I am not going to say I will remember every bit of “Profile” by the end of 2021, but it is a marvelously crafted picture from start to finish that sounds offish when you hear the technical aspects, but works completely when you implement the story and narrative into it. When war and movies are put together in the same sentence, you would usually expect something big and cinematic like “Saving Private Ryan” or “Dunkirk.” “Profile” does a really good job at showcasing war in cinema from an alternate point of view. I remember when I first heard about ISIS in 2014 and I would see real life footage of the action in history class. Seeing ISIS in this film sort of took me back to that time in one way or another and at times it reminded me of how a lot of modern history is told. If you have seen shootings, protests, or other serious events in recent years, you’d notice that they would often be shot on a phone, either through a pre-recording or live video on a service like Facebook Live or Periscope (RIP). And sometimes they would be shot in a vertical aspect ratio, or as some people call it, “the wrong way” to take pictures or video. “Profile” is successful in its attempts to show grit or danger by utilizing modern technology that may seem odd for a cinematic picture, but somehow ends up being executed brilliantly.
I have talked quite a bit about the film’s technology, but it is one of the biggest standouts from start to finish. Nevertheless, it does not take much away from the characters. To be specific, Amy, the journalist and main protagonist of the film, and Bilel, the ISIS fighter whom she constantly talks to over video. This film does a really good job at showcasing the stress on Amy’s side and a mix of classiness and terror on Bilel’s side that makes the movie stick the landing and blend some delicious flavors together for an exciting outcome. I do not want to spoil much, but this movie’s hesitancy to go big on the technology does not mean it automatically suffers when it comes to delivering a story. The film’s plot does get a little ludicrous, but maybe not on the level of “Sharknado.” That may be one minor problem of the film, but it is also a blessing because it is also what makes the film attention-grabbing. Nevertheless, giant leaps are giant leaps, and by the end, it almost jumps the shark and the jaws continue to drop. Is it exciting? Yes. But does the movie feel as real in the end as it does in the beginning? Not really.
In the end, “Profile” is a tiny yet captivating little thriller. I do not see the screenlife genre being my new favorite trend in filmmaking, but it is one that I simultaneously welcome because of how good “Profile” turned out. I think the cast is really good, the way they went about filming this movie in just a short amount of time is rather impressive, and despite some absurdity at particular points, the film is still worth watching. It is not playing in many theaters right now, but if you have the time, I would say give it a shot. I’m going to give “Profile” a 7/10.
One other thing I want to point out, and I cannot say this will totally affect my viewpoints on “Profile,” is that this film was first shown to the public in 2018. Although it never got a big public theatrical run until May of this year. I do not know why that is, but this kind of reminds me of the end of 2020 where Disney/Fox dumped some of its long-finished films like “The New Mutants” or “The Empty Man” into theaters. Part of me feels like they just decided to release it now as an excuse to say they put it in theaters because it has been in the can for so long that it needs to go. It was already competing against “Spiral,” “Army of the Dead,” and “Those Who Wish Me Dead.” This film was not too expensive to make, but I feel like Focus Features had little faith in it. I barely saw any marketing, and I did not even pay to see the movie. I was given a free screening online. It just felt like the studio said, “Hey, here’s a movie!” 2021 looks like it’ll be a fine year for movies. There are a lot of big ones coming out, but I feel like “Profile” is another victim of the COVID-19 crisis where the film was just dumped into theaters just for the sake of it. Heck! The film has not even made its budget back yet! I wish everyone involved in this movie well in their careers, but from a distribution standpoint, this was not a victory. Again, this does not affect my score, but in the supposedly changing landscape of film, this is one of the trends that unfortunately continues.
“Profile” did release theatrically on May 14th, but it is highly unlikely you will find a theater near you playing the movie. If that is the case, it is also available to rent on VOD right now.
Thanks for reading this review! My next review is going to be for Zack Snyder’s new film “Army of the Dead.” I saw this movie at a Cinemark the weekend it came out, and I cannot wait to talk about it. I will also have upcoming reviews for “A Quiet Place Part II,” “In the Heights,” and my commitment to seeing this right away is not guaranteed, but I should be seeing “The Hitman’s Wife’s Bodyguard” this week depending on my schedule. Also coming soon, I will be doing another update on my complete Blu-ray collection. I’ve done it in recent years, and I think it is time, now that I am reaching 500 posts, to give you my latest status update. Hope you are excited, because I cannot wait to share the latest details with you. Be sure to follow Scene Before either with an email or WordPress account and check out the Facebook page so you can stay tuned for more great content! I want to know, did you see “Profile?” What did you think about it? Or, what do you think about the screenlife genre? Is it cool? Too small? Gimmicky? Let me know down below! Scene Before is your click to the flicks!
“The Last Vermeer” is directed by Dan Friedkin, a producer of films including “The Mule,” “Hot Summer Nights,” and “All the Money in the World.” This film in particular is Friedkin’s directorial debut. It received positive reactions at festivals, and now it is getting a long-awaited theatrical release.
“The Last Vermeer” stars Guy Pearce (Memento, Iron Man 3) and Claes Bang (The Girl in the Spider’s Web, The Square) in a story about an artist who is suspected of selling a valuable painting to the Nazis during World War II.
Going into this movie, this was a rare case where I was fairly blind in regard to the goings on. I did watch a trailer prior to leaving my house, and I do think I have caught said trailer at the theater once or twice during other presentations. But this is a film that I went into knowing very little. One of the questions I am constantly asking myself as I type this review is how vague I should be in regard to my overall thoughts. I will do my best to give a summary of my experience.
Let’s start with the easy part. This movie kicks off and maintains a pace that does not feel quite satisfying. However, it is also a story that becomes more investing of my time and attention as it progresses. It has been some time since I watched this movie, but I would not be surprised if this goes down the route of say “Bloodshot,” which coincidentally also has Guy Pearce playing a character, to become one of my most forgotten movies of 2020. Although based on how it concludes, it is not all bad.
They say that bad endings can ruin good movies. Personally, that is a phrase that I have not continuously realized myself. Whenever I watch a good movie, it is usually consistent from start to finish. This year however, I will admit that I did catch one movie that started horribly but ended up being one of the most charming experiences I have sat through in recent memory. That movie by the way, is “Summerland,” starring Gemma Arterton, and it is available on DVD and for rent. While “The Last Vermeer” is not on the same level of “Summerland” in terms of quality for me, it plays out in a similar manner. “The Last Vermeer” starts off rather dull. In fact, as of writing this review, it has almost been a couple weeks since first experiencing “The Last Vermeer” and I almost barely even remember the beginning. Where it picks up is around the second half, because we get into the nitty gritty of the story and we get to witness quite the court case. Towards the end of the film, I was hooked, and it made this true event worth telling on the screen. The journey to get there however might end up being forgotten.
Let’s talk about Claes Bang (left). Claes Bang is not the most well known actor working today, but I want to emphasize him in this review partially because he’s one of the two leads, and this movie may signify a rabbit hole for the actor. One of the concerns I have for this movie is how it could outline Bang’s future. Claes Bang is not a bad actor by any means. I say this despite having only seen him in one other project aside from this one, specifically “The Burnt Orange Heresy.” Now, “The Burnt Orange Heresy” for those of you who do not know is a film about an art critic (Bang) recruited by a dealer to steal a painting. Now I do not know Claes Bang personally, and maybe he enjoys doing these art-centered movies, but I feel like if he continues having roles like the ones he’s getting, he could risk getting typecast in the future. Granted, we have examples of typecasting that work. Samuel L. Jackson often gets cast in roles that encourage him to shout the word “motherf*cker” so all the people of Uranus can hear it. Maybe I am overreacting, but as solid of an actor I think Claes Bang is, I think it would be interesting to see him take in another type of project. Yes, he’s done stuff like “The Girl in the Spider’s Web” in the past, and he’s even played Dracula in the BBC/Netflix series “Dracula.” I just wonder what Bang’s future holds because for all I know, it could continuously involve art movies. But if you want me to be frank about Bang’s performance in “The Last Vermeer,” I liked his character at times, I think he did a good job as his respective role, and he has great chemistry with Guy Pearce.
Speaking of Guy Pearce, I think the makeup and costuming department did a phenomenal job at making Pearce’s character jump off the screen. I have not seen all of Guy Pearce’s work, but I have witnessed some of it like “Memento,” “Iron Man 3,” and “Bedtime Stories.” This is not Guy Pearce, it is another… guy.
*rimshot*
Guy Pearce in this film feels less like Guy Pearce and more like an artist trying to pull of a lifelong Albert Einstein impression, and he does a pretty good job with it. Again, major props have to go to the costuming and makeup departments for pulling off how the character looks. Guy Pearce portrays the art dealer known as Han van Meegeren, and having searched for older photos of him, he looks the part. The Oscars, should they happen next year, is probably going to take place during April. We still have some time to determine whether this performance will hold up, but I would not mind seeing Pearce get an acting nomination.
Unfortunately, however, this movie is probably going to suffer from a lack of replay value, at least from me. It will probably get more than one watch from others, but this feels like a one and done flick, despite how there are some good things in it. But a barely investing beginning and exciting climax did not do it for me. I will say, this is a fascinating story, but I wonder if I would have had more fun researching it through Google as opposed to watching it in a film like this. This is Dan Friedkin’s directorial debut, so I am curious to see what he does in the future in regards to directing, but I just hope it has a greater oomph factor than “The Last Vermeer.”
In the end, “The Last Vermeer” is not half bad. You can watch it, but I would say there are better options out there if a theater is open near you. Go watch “Freaky.” Go watch “Honest Thief.” These may not be the best movies ever, but they are fun times. I liked “The Last Vermeer,” but I just wish it had a greater impact on me. Pearce and Bang are great actors and I would not mind seeing them collaborate on another project in the future, but I hope it is more investing than this one. I am going to give “The Last Vermeer” a 6/10.
“The Last Vermeer” is now playing exclusively in theaters wherever they are open.
Thanks for reading this review! I have some more reviews coming your way including for “Half Brothers,” now playing in theaters, and “Mank,” which is available in select cinemas and Netflix. I am also planning on watching “The Midnight Sky,” directed by George Clooney, which is now in theaters, but will be available on Netflix starting December 23rd. Also, I have obtained a pass to an online screening of STX’s upcoming film, “Greenland,” starring Gerard Butler. That film will be available on premium VOD starting December 18th, and I plan to have my review up sometime around the film’s release. If you want to see all this content and more, follow Scene Before either with an email or WordPress account, and give my Facebook page a like! I want to know, did you see “The Last Vermeer?” What did you think about it? Or, what is your favorite example of typecasting? Let me know down below! Scene Before is your click to the flicks!
“Summerland” is directed by Jessica Swale and this is her feature-length directorial debut. Swale’s other credits include shorts and a TV movie. This film stars Gemma Arterton (The Girl with All the Gifts, Clash of the Titans), Gugu Mbatha-Raw (Belle, The Morning Show), Lucas Bond (The Alienist: Angel of Darkness, Slumber), Dixie Egerickx (The Secret Garden, The Little Stranger), Siân Phillips (I, Claudius, Dune), Penelope Wilton (The Best Exotic Marigold Hotel, Downton Abbey), and Tom Courtenay (The Aeronauts, The Dresser). This film follows a woman named Alice, she’s a writer, she’s a hermit, she’s bullied by local children, and she’s sometimes called a witch. Keep in mind, the movie is set during World War II, so when an evacuee is sent to her doorstep, her world turns upside down. However, their relationship develops as we get to know more about the backstory of both characters while also seeing how they engage with one another in the present.
I’m gonna be straight up with ya. 2020 is s*it. It’s f*cking stupid. So far, this entire year has been a waste. My spring break trip was ruined by the beginning of a pandemic. Movie theaters shut down for some time. Every comic con beyond March got cancelled. The only positive is that I don’t need to wear pants right now. As far as movies go… Screw that noise! Nothing is memorable! This year, like many, started off with some duds, but that’s expected. What I didn’t expect is for this entire first half of a year to just amount to absolutely nothing!
I got to see Joe Gatto in person… There’s something.
I saw “Emma” in February, the star and director happened to be there to promote the film. There’s something else.
I got to go to Universal Hollywood before they closed down… That’s pretty much it.
Things have been turning around however. Cases and hospitalizations have been going down in my area, I finally shaved my facial hair for the first time in months, and movies have been getting SLIGHTLY more watchable.
Note: I said slightly. “Vivarium,” “An American Pickle,” “The Burnt Orange Heresy,” they’ve all been fun to watch. But it’s hard to tell if I will remember them by the end of the year.
“Summerland,” before I saw it, was an interesting little movie. One of the positives of the second half of 2020 for me was the reopening of some movie theaters. Granted, not all of them have reopened, but some of them, including a local spot known by the name of Lexington Venue have welcomed back patrons. “Summerland” was one of the movies initially playing on their second reopening, but I decided to wait and see it on the second weekend I returned. It was my third time at that theater in a span of a little over a week.
When I started watching this movie, a lot a havoc began. The projector was having problems. We had to stop the movie more than once. The movie itself was not much better. Ten minutes in, I already hated the main character. She came off as an insufferable jerkface that I would never want to meet in person if she actually existed. There was perhaps no redeeming quality to this character other than the fact she was a writer.
Then… Something happened. The movie went along, the main relationship builds, characters develop, and I will tell you something, I almost shed a tear. This is my favorite film of the year. Period. Granted, given how “Tenet” comes out soon, I would bet that such a notion could change, but it’s true. “Summerland” is one of the most emotionally investing movies I have seen in recent memory. It sort of reminded me of “Jojo Rabbit,” minus all the satire. After all, both films take place during World War II, and in some way, involve a young boy at the center of everything. Granted, his name is not the biggest on the poster and he does not have top billing, but he seemingly has much of a prominence in this movie as Gemma Arterton’s character does, who I really need to talk about by the way.
Gemma Arterton plays a character named Alice, and when I saw her in this movie for the first ten to thirty minutes, I thought to myself, “OK, time to watch the latest pile of crap I’ve seen this year. 2020’s full of them.” I say that because her character comes off as a bitch in the beginning. Then she kind of grows a heart, where she is a bit nicer. I understood what the movie was going for in the long run. But at the same time, it’s like they were writing lines for Sheldon Cooper, but they turned him into a woman. And I say that as someone who loves Sheldon Cooper, but at times, this seemed like a draft version of Sheldon Cooper where the whole time he’s just a complete ass to those around him. At the same time however, I’ve grown to realize something. This character is completely relatable. Before staying home and being alone was cool, I was always focused on a number of things: Avoiding people, writing, and perfection. This lady, seems to be all about that! Alice is practically an older, 1940s version of me! I may be a little more welcoming to visitors, but I was floored on how much she reminded me of myself.
As for Frank, the young kid in the movie, seeing how he develops in this film is quite intriguing. Seeing him adapt to his new environment was worth my time. I also think Lucas Bond does a pretty good job playing this character, providing one of the more admirable child performances I’ve seen in recent memory. The same can be said for a friend he meets in the movie, Edie. She’s played by Dixie Egerickx, and their relationship not only feels natural, there was a point where it sort of felt like Simba and Nala in “The Lion King.” Granted, it’s not exactly the same, but there is one scene where they are hanging out together and I sort of made that connection for some reason.
What I really enjoyed about the relationship between Frank and Alice is not only seeing how both characters developed as individuals, but how their differences are obviously present, even though they don’t get in the way of the two being together. The relationship doesn’t entirely feel 100% in wonderland while not being entirely toxic either. I wouldn’t call it a Goldilocks relationship if you will, but if you see the movie, you might get a sense of what I’m talking about.
Admittedly, this movie did start a little slow. Considering that, in addition to perhaps a nearly painful introduction to Gemma Arterton’s character, make up the most notable turnoffs of the film. There are also one or two directorial choices that I wouldn’t have made. Although I won’t knock this film’s director, Jessica Swale, too hard given how this is the first feature she’s handled. But there is so much to love about “Summerland” that I almost don’t care. I will not dive into spoiler territory, but I went into this movie, wondering what the heck the title of this film even means. Is it a place? A thing? An idea? The way the movie handles the subject matter presented in the title is incredibly enchanting and satisfying. The way this movie sort of goes kind of reminded me of “Onward,” the recent Pixar film that came out. It’s not exactly the same though for several reasons if you watch both movies, but I nevertheless made such a connection. Now, I like “Onward.” I had a really good time watching that movie and it continues to prove that Pixar can do no wrong. But I expected to go into “Onward” and leave a certain way. “Summerland” gave me the feelings and emotions that I couldn’t quite get from “Onward,” even though I expected that they were almost a guarantee. I don’t want to dive too much into either film, because I want to avoid spoilers, but holy smokes!
I walked out of “Summerland” similar to the way I walked out of “Marriage Story.” When I left my screening for “Marriage Story,” I was so moved… and floored, that I stayed for the credits. I then walked out of the theater and I needed to sit down somewhere. During my “Marriage Story” experience I sat on a bench inside the cinema, but after seeing “Summerland,” I sat in my car, partially because I wanted to look at some local restaurants on Google Maps in private. But also because I needed a place to process what it was I just saw. When your movie has me feeling nearly motionless for around five minutes. You’ve made something special. Period.
In the end, “Summerland” is my favorite movie of 2020. During a year where a pandemic has gotten me down, this movie happens to have lifted my spirits up just a little bit. This film is playing in a few theaters, but I am not going to force everyone to attend a theater right now, given how some of my viewers might be a little nervous. Plus states including New York and California, which any other day of the year, would be part of the biggest markets for moviegoing, are not open at the moment. But fear not! This movie is available on VOD if you want to watch it at home! I think the casting for all the actors was well done, I like some of the scenery and locations in the film, the backstories for certain characters were incredible and added a bit to the movie in terms of overall likability. “Summerland” is one of the better written movies of 2020 in terms of its screenplay. As far as directing goes, that is an area that “works,” but there are a few things I would have done different if I were at the helm. Nevertheless, I am excited to see what Jessica Swale has next. Keep in mind, this movie is not perfect… But it is the first time I’m saying this all year for a new release, unless you count “1917” even though it technically came out last year. I’m going to give “Summerland” a 9/10.
Wow that feels good. I have still not given a 10 this year unfortunately. This film came close, there are a couple changes I’d make before calling it perfect. But that leaves a question for the rest of 2020. What will get a 10? “Unhinged?” “The New Mutants?” “Tenet?” “Wonder Woman 1984?” “Dune?” “Black Widow?” “Soul?” “No Time to Die?” Who knows at this point? For all I know, there might not end up being any 10/10s this year. Even so, I’m glad to actually have a reason to say 2020 has a glimmer of hope in it at this point. Because I have waited SO LONG to finally see something memorable. I was wondering at this point, is “The Vast of Night” the best thing this year’s got? Because I’d be quite unsatisfied if that’s the case. Nope! Thank you, “Summerland!” And also, thank you Britain! Hundreds of years ago, my country separated from you over our differences regarding things like tea, but I’m glad to unite on something as simple as the movie “Summerland!” Go watch this movie! I recommend this movie to just about anyone, and who knows? Maybe it’ll put a smile on your face!
Thanks for reading this review! Just want to let everyone know that I got an early access invitation to watch the new movie “Words on Bathroom Walls.” I’ll be blunt, this does not look like my type of movie. But, as a reviewer, I am glad to talk about new content, so I am likely going to watch the film and discuss it here on Scene Before. If you want to see more content like this, follow Scene Before either with an email or WordPress account! Also, check out my Facebook page! I want to know, did you see “Summerland?” What did you think about it? Or, how is your cinematic year for 2020 going? Are the movies good? Bad? Anything you want to see? Have the delays got you down? Personally, I have not seen a cinematic calendar more disappointing and underwhelming in quite some time. I am holding out hope for films like “Tenet” and “Dune” this point. And “Tenet” tickets go on sale soon! Let’s hope it actually opens! PLEASE. If it pushes back once more I’m running over my TV with an Amtrak train! Leave your thoughts down below! Scene Before is your click to the flicks!
“1917” is directed by Sam Mendes (Spectre, American Beauty) and stars George MacKay (The Boys Are Back, Captain Fantastic), Dean-Charles Chapman (Into the Badlands, Game of Thrones), Mark Strong (Shazam!, Kingsman: The Secret Service), Andrew Scott (Fleabag, Sherlock), Richard Madden (Game of Thrones, Bodyguard), Claire Duburcq, Colin Firth (Love, Actually, Mamma Mia!), and Benedict Cumberbatch (Doctor Strange, Star Trek: Into Darkness). This film takes place throughout, as the title suggests, 1917. Specifically, during events of World War I. The story follows two British soldiers, Schofield and Blake, as they are given a mission to deliver a message to the 2nd Battalion of the Devonshire Regiment to call off an attack on the Germans. If this mission fails, this would mean there would be a loss of 1600 men, including Blake’s brother.
First off, let me just say to all of you that this is my first review of 2020, and what a better way to start off the year than to talk about movie that is literally a year. This film came out Christmas Day in select theaters, but much to my dismay, not one theater in the Boston area was going to show the film until 2020, so I had no chance to see it until then. This year is also the earliest time in which I was able to catch an advanced screening of the film. So I trekked to the theater this past Tuesday with high expectations.
When I say high expectations, I mean that literally. Knowing some of the technical aspects of the film, which I will dive into later on, it makes me giddy just thinking about it. Plus, this week was also the airing of the 77th Golden Globes, where this movie was nominated for 3 awards, and ended up taking home 2, including Best Picture – Drama. Granted, the more I think about the Golden Globes as a whole, the less meaningful I find them to be (after all, their voting board is not that big and they have genre-specific categories), but to have some notable recognition definitely helps. But in life, I live by the philosophy to form my own opinions on any matter at all times. Because life is just better when I’m in control. So what are my thoughts on “1917?”
Let’s see… Oh! It’s better than “Cats!” But that doesn’t say much, now does it?
Let me try this again by asking you a question, because it sort of relates to my experience. How often has this happened to you? You go see a movie, and maybe you feel that what you just saw was wicked intense, and said intensity hits you to the point where your body just shuts down at a point. For me, that’s what “1917” felt like. I walked out of this movie nearly unable to feel my own legs. To help explain some of my thoughts on this film, I am going to remind you of another recent war film, specifically Christopher Nolan’s “Dunkirk.”
While “Dunkirk” and “1917” have their differences, one thing I cannot deny is that they both stand out in terms of how effectively they convinced me that I could have been in danger. I will say, “Dunkirk” had a slight undeniable advantage during my first viewing because I did see it in IMAX and I saw “1917” on a standard cinema screen, but regardless, “Dunkirk” emphasizes on sound more than “1917” does, which believe it or not, isn’t exactly a sign of this film lacking proper sound whatsoever. In fact, the sound editing and mixing in “1917” is great. I have no problems with any of that. But while “Dunkirk” emphasizes sound, “1917” emphasizes sight. Again, I’ll state that “Dunkirk” did a good job on that side of things as well. In fact, the movie received a Best Cinematography nomination, which it deserves. The way it utilizes 70mm and IMAX technology is undoubtedly impressive.
When it comes to “1917,” the technology used for this film, specifically the camera, is smaller. In fact, it runs on digital. The entire movie is shot using an Arri ALEXA Mini LF, which, if you don’t know much about cameras, the Arri ALEXA in general is often regarded as a current industry standard in filmmaking. This does make sense given what the crew behind this movie set out to do, which is film the movie with long takes, involving lots of movement. It’s not like this is one of those movies where the camera always sits still on a tripod, pretty much the entire movie tries to put you into the frame and take you along for the ride, and I’d say this was a pretty successful task. Because pretty much the entire time, even though I barely knew the two main characters, I was rooting for them to get out of whatever dire situation they were in. The long takes made me feel like I was transported in the movie, it made me feel like I was going to get shot, maybe debris would be flying onto my head.
The stellar cinematography in this film, which in fact, is without any argument whatsoever to be the best cinematography of 2019, is done by Roger Deakins, who also took on the job for iconic films including “The Shawshank Redemption” and “No Country For Old Men.” He also did one of my favorite films of the past few years, “Blade Runner 2049,” which he won his first Oscar for. There are several shots in this film that I can imagine myself wanting to hang in my living room if I had enough money for a big house and if I can find a good 5 panel canvas. And what really shocks me is a particular technique that is utilized during the film. I mentioned that the film is designed to look like it is one shot. Let me just tell you right now, it’s not. Without spoiling anything. There is a scene where the footage cuts to black, allowing for a slight break from whatever’s happening on screen. However, according to certain sources I have read, the film does cut but I didn’t even notice it on screen. According to the Hollywood Reporter, the longest shot in the movie is eight and a half minutes. This instantly brings a sense of hypnotization and eventually, a desire to look back at the film and try to guess when exactly the cuts happened. Plus, this film was shot on location, which brings a lot of challenges for the filmmaking process including an analysis on set design and the fact that lighting shots is perhaps an impossibility. And somehow, all of this was pulled off. This to me, cinematography-wise, may be in the top 10, maybe even top 5, all-time greatest achievements related to its category. I wouldn’t say it’s #1 at this point given how I still need time to marinate, but it does come close as of now, and if Roger Deakins DOES NOT win Best Cinematography this year at the Oscars, that award in all likelihood will be nothing short of a snub.
Another reason to consider how this movie is not #1 in terms of being the greatest cinematography achievement of all time is that this has been done before. Yes, this is sort of an upping of the stakes compared to Sam Mendes’ own long take shot experience from “Spectre,” a movie in which the cinematographer was Hoyte Van Hoytema, but that’s not the point. If you have followed 2014 in film, you may be familiar that the Academy’s Best Picture that year was “Birdman,” directed by Alejandro González Iñárritu (Babel, The Revenant). Having said that, I think the originality factor of that film helped me appreciate it. “1917” on the other hand is ultimately following in its footsteps. Story and concept-wise it stands on its own, but the intention when it comes to the visual aspects of the film is not completely different. Also, according to a quick Google search, the longest shot in “Birdman” goes on for fifteen minutes, compared to “1917,” which has a longest ongoing shot for eight and a half minutes.
In all seriousness though, this film, as a visual ride, is a tour de force, and I think this could be Roger Deakins’ best work just because of the daunting task at hand. And for that, I also have to give credit to Sam Mendes for helming this production. This is an experimental, ambitious film that I think will be looked back upon for years to come. In addition to all of the surroundings that make this film what it is, Thomas Newman’s score also does an effective job at adding something to the crazy experience on screen.
As for the characters, I wouldn’t say I didn’t care about them, but I am not gonna sit right here and tell you that they’re anything special. I did mention their names, but keep in mind that I glanced at them on Wikipedia as I write this review. In fact, I think the only name I recalled from the film is Colonel MacKenzie, maybe because I was paying enough attention. But at the same time, this movie is more about the journey, the effects throughout said journey, and this was one HELL of a journey. When I bring that up, part of me thinks that I almost don’t even need to know anybody’s name. In fact, I felt like *I* was a character experiencing this event alongside everyone else, therefore I am ultimately the one who should develop the most.
If I were a character in this movie, I’d say I’d start out curious, maybe a tad scared, but at the same time, I have to realize the consequences that can come from various actions. As the movie goes on, I would still be scared, perhaps even more so, but I would still tough out through whatever lies ahead. Eventually, I’d still be my terrified self, but I’ll have a feeling that I finally get to breathe. Seriously, whenever there is a moment of silence or calmness, it felt rewarding. I felt like I went through war with these characters simply because the camera’s eyes were almost like my eyes. Granted, it focuses a lot on these folks’ faces and I would probably never spend 2 hours almost continuously running backwards, but I think y’all get the point.
The film’s concept is simple, but it is also effective. Before I dive into the paragraph where I give my official rating, let me just say that this film, story-wise, is one I need to continue to think about. However, when it comes to various other aspects, it is one that I am pretty much set on. My rating could change, but anything is possible.
In the end, “1917” gave me pretty much everything I wanted. It is a beautifully shot, brilliantly directed, and solidly executed master work. It is just incredible to think about all the hard work and craftsmanship that went into this. There are a good number of war films out right now, but I’d say that this is 1,917 times as awesome as some others. I know some people who have seen a number of movies that will tell you that maybe whatever movie they saw at the theater is not worth the experience, maybe because there weren’t enough showman-esque elements in the movie or something. Let me tell you, and I’m not talking to everyone, because I understand that war films may not be everyone’s cup of tea, and that’s fine, but if you don’t go see this film in a theater, it’s a crime. A bad crime. Go see this movie on the biggest screen you can, with the best sound available. It’s out right now in Dolby Cinema, so if you’re willing to pay a higher ticket price, go there. Just see it! It’s an experience! As for the story, I mentioned that I have no problems with it, but it is one where I feel like I won’t remember anybody’s name. Maybe this is a movie to me that gets better the more I watch it. But we’ll just have to see. Also, the cinematography is PERFECTION. I’m going to give “1917” a 9/10. I wanted to give the film a 1917/10, but then I’d break the scale, so 9 it is.
Thanks for reading this review! I just want to remind everyone that this SATURDAY, JANUARY 11TH, will be the kickoff of my multi-part countdown event, “Top Movies of the 2010s!” I’m gathering all the entries, lining them up as we speak, and even though I am admittedly cramming at this point, I am hella excited to share my lists with y’all! If you want to see this and more content from Scene Before, give me a follow! If you have a proper account in place, feel free to leave a like and comment! Also, if you have a Facebook account, feel free to like my page to get notified about the latest goings on here at Scene Before through the place where you have friends, even those you probably haven’t talked to in five or so years. I want to know, did you see “1917?” What did you think about it? Or, what do you think is the better achievement in cinematography, this movie or “Birdman?” Let me know, you have one shot to impress me with your opinions! Scene Before is your click to the flicks!
“Jojo Rabbit” is directed by Taika Waititi (Thor: Ragnarok, The Hunt For the Wilderpeople), who also plays the character of Adolf Hitler in this movie. Alongside Waititi, the film stars Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson, Rebel Wilson, Stephen Merchant, Alfie Allen, and Sam Rockwell. This film is about a young boy living in Nazi Germany by the name of Jojo. We see him at the start of the movie, trying to become part of Hitler’s force. However, he is eventually revealed to be wimpy compared to those around him, which partially inspires the titular nickname “Jojo Rabbit.” The film also explores Jojo’s life at home, when he eventually finds himself in a situation where he is living with an enemy of many Nazi Germans, a Jew.
I have not seen much of Taika Waititi’s work. Admittedly, as much as it makes me look like a bad moviegoer, the only film of his (specifically, the ones he hasn’t had an acting role in) I managed to see happens to be “Thor: Ragnarok.” Judging from that, Waititi definitely has his own style when it comes to his movies. Granted, judging from the fact that “Thor: Ragnarok” is a Marvel movie, it follows a lot of the beats to fulfill the requirements of what makes one of those films possible. If you ask me, I think “Thor: Ragnarok” is almost the most overrated Marvel movie. It’s good, but I really think they should have toned down on the humor, and the vibe should have fit with a lot of the dark ideas the movie seemed to have going for it. I mean, THE CITY OF ASGARD IS IN DEEP S*IT! Now that “Ragnarok” is in the past, Waititi went on to direct this film, which if I had to be honest, is better than “Thor: Ragnarok.”
Now that I had a week to think about “Jojo Rabbit,” I just realized that this film and “Ragnarok” manage to have something kinda sorta in common that I could not quite grasp at first. Both of them feel like parodies. Granted, “Jojo Rabbit” IS a parody, but that’s not the point. When I watched “Thor: Ragnarok,” I was not able to appreciate the humor that they were trying to hammer inside my head. I thought it was quite unnecessary. But there are various parts of “Thor: Ragnarok,” and I won’t get into them, that might as well be part of a rather effective big budget “Saturday Night Live” sketch. I have not gone back into the past to view Waititi’s earlier work, but it does make me curious as to what he has up his sleeve in the future. How far will he go with the humor? If he goes on to direct “Thor: Love and Thunder,” is he going to make it a pure comedy? I don’t know, but it would at least be interesting to see.
And speaking of long, deep thoughts, this movie managed to do something quite extraordinary and rather unexpected. Once again, this is a parody film. Keep that in mind. But Nazism is one of the most serious subjects that one could talk about or put in a motion picture. As someone who knows the Nazis were objectively evil, I cannot help but point out that this film made Nazis look fun. Based on pure entertainment value, I wouldn’t say that’s an entirely bad thing. I don’t mean any offense when I say this, but between Hitler, a book burning scene, and a few funny moments here and there, “Jojo Rabbit” managed to surprise me immensely.
Keep in mind, for those of you who are thinking this movie is about Hitler, guess what? It’s not. Adolf Hitler in this movie plays an important role, but if you are expecting this to be a movie about Hitler, you MIGHT be disappointed. Personally, the real concept behind this movie is one that I would love to shout from the rooftops. As mentioned, this movie is about a young kid, who goes by the name Jojo. There are various scenes in the film where Hitler appears, but each time, it’s all a figment of Jojo’s imagination. Basically, Adolf Hitler in this film is Jojo’s imaginary friend.
AWESOME.
Staying on the topic of Hitler, Taika Waititi does a really good job at playing him. The movie also somehow did a good job at making him a charming, relatable character. One of the first scenes where I see him talking to Jojo, he talks about how people made fun of him in the past. He then advises Jojo to “Be the rabbit,” which is a suggestion to take a nickname that is seemingly derogatory, but use it to make yourself a better human being.
I will also say that the kid who plays Jojo, otherwise known as Roman Griffin Davis, did a pretty good job. For the record, as I write this review, I have looked at both his Wikipedia page and his IMDb page. According to both sources, “Jojo Rabbit” is the dude’s only acting credit. The only other piece of media, at least according to IMDb, featuring Roman Griffin Davis in some way, shape, or form is an episode of “Entertainment Tonight Canada.” I am not sure how much training or practice Jojo had before taking on this film, but for a first time performance, this was nothing short of a job well done. Personally, despite being a actor of his particular experience level and age range, this didn’t feel like a first time performance, which may be the best compliment I can give.
Overall, the cast of “Jojo Rabbit” completely stands out in the best possible way. Again, I mentioned that despite the evils of Nazism, certain elements of the film made it look like a party, which made the final product particularly interesting. This is why I liked the performance from Rebel Wilson’s character, which I’m glad to say because if you know me in real life, I am not that big of a fan of her. To be honest, her acting job in “Jojo Rabbit” may be the first likable performance I have seen from her. This may be the first movie I liked featuring her too. “Night at the Museum: Secret of the Tomb” comes close, but it just misses the mark.
I think one of the best parts of the movie, even though it ended up going in a direction I did not think it was going to go, is the screenplay. When I saw this film being marketed, I thought it was going to be a full-on satire. Imagine “Spaceballs” but with Nazis. And in a way, I kind of got that, the movie wasn’t as funny as I was originally anticipating it to be. That’s a small problem of mine, but the movie also has a serious plot to it that I can kind of get behind. There is a scene, about two thirds of the way through the movie, that has an enormous amount of tension that I really dug. When I walked into “Jojo Rabbit” I was expecting to laugh myself to death. I cannot say I did that. Instead, this movie managed to bring a surprising smile to my face. I felt utterly alive.
In the end, I had a good old time with “Jojo Rabbit.” It’s probably not the gutbuster I was expecting it to be, but it is still a damn good couple of hours. This is a movie that manages to make Nazis look fun, while also reminding me of their evils and what terrible things they have done. The movie kind of concludes on a surprisingly less than pleasant note. I say that because this film starts out with a clear humorous vibe. It’s kind of wacky and silly overall. Is it perfect? I wouldn’t say so, there are some minor issues. But I think there is enough in the film for me to think to myself that I’d want to watch it again. I’m going to give “Jojo Rabbit” an 8/10. Thanks for reading this review! My next review is gonna be up very soon, which is for the new Amazon movie “Honey Boy.” I was just recently at a free screening at a local arthouse theater for the film, so I will have my thoughts on that very soon. Also, I just saw a new movie this weekend at my local IMAX, specifically James Mangold’s “Ford v Ferrari.” A review for that will soon hit the interwebs, and I am looking forward to sharing my thoughts on it. If you want to see my thoughts on either of these movies, or other content from the Movie Reviewing Moron, be sure to follow Scene Before with an email or WordPress account! If you are on Facebook, be sure to check out my page and give it a like, it really helps me out! I want to know, did you see “Jojo Rabbit?” What did you think about it? Or, what is a movie that you went to see, not to mention liked, that you were expecting to be funny, but turned out to be serious? Let me know down below! Scene Before is your click to the flicks!
WARNING: The following post is over 8,000 words long. Disappointingly, it’s not over 9,000.
Hey everyone, Jack Drees here! 2019 is midway through and this year is going by fast! As far as my personal life goes, I’m in between my first and second year of college, I am enjoying my time off, and I’m the same movie reviewing moron as usual. Things have changed, but at the same time, I’m still the same flick nerd I have always been. And I mean that literally, but we’ll get to that later. However, I wanted to try something I haven’t done before on this blog. At the end of the year, I tend to do some reflective work, most notably countdowns. And while I am not going to do that at this current midway point, I would at least like to sit myself down and go over some recent highlights related to Scene Before. At the same time, I’d like to also look into the future. Admittedly, some of this is still in planning stages, but still.
I’d like to start off with something I’d like to call “TERRIFIC 3” and “TERRIBLE 3.” I am going to list 3 movies that I have watched this year that I would recommend to people and 3 other movies that I would tell people to avoid. Now, of course, these picks are subjective, if you think differently about these films than I, it might be slightly harder to talk to each other, but you are nevertheless entitled to your different thoughts. In fact, these are not supposed to be my top 3 best or worst of the year so far. If I like a film, I’ll list it, if I don’t like a film, I’ll also list it. These are not meant to be in any particular order. Anyway, let’s begin!
TERRIFIC 3!
Starting off the Terrific 3 is “John Wick: Chapter 3!” I went to see this film in Dolby Cinema alongside my dad, who might be a bigger “John Wick” fan than anyone else I know. He and I walked out agreeing that the action in the film is absolutely top-notch. The action in “John Wick” films is certainly the aspect that would grab my attention more than any other. Long takes, innovative setpieces, gritty violence, all of it adds up to make some of my favorite action scenes of all time. When it comes to current action franchises, I am having some slight trouble deciding whether I prefer this or “Mission: Impossible.” It’s that good!
Up next is a stellar DreamWorks animation whose franchise I never watched religiously, but always liked, “How To Train Your Dragon: The Hidden World.” If you have ever seen the game show “Deal or No Deal,” the show always highlights the phrase “timing is everything,” and when it comes to “How To Train Your Dragon: The Hidden World,” that phrase becomes more relevant than ever. This movie came out in the middle of my second semester of college, and I could not help but feel like the people behind the movie were trying to consider me in its target audience. After all, while “How To Train Your Dragon” may be a franchise directed towards families and children, this growing adult could not help but feel like a kid again. In fact, to add more to this true masterpiece of an animated film, I became more emotional during this movie than I did during perhaps more than any other. Even more than “Toy Story 3.”
Last but not least for the Terrific 3 is a movie that I decided to list because it’s on a slightly different end of the spectrum. Because let’s face it, I’m kind of recommending movies to you, and why recommend “Avengers: Endgame” when almost everyone went to see it? So let’s recommend a smaller movie, such as Terry Gilliam’s “The Man Who Killed Don Quixote.” Now some would argue that this is a 2018 flick, but in the United States, which is where I live, this didn’t come out until 2019. For those of you who don’t know this movie, “The Man Who Killed Don Quixote” took decades to make, and it’s about a guy who reunites with someone he worked with during a production. This person he meets with is convinced that he is Don Quixote. This did not get that big of a release in theaters, but it is worth seeing just because of its history, because despite going through “development hell,” it managed to turn out quite well! The movie is now available on home video including various VOD options.
Now let’s move onto something that probably doesn’t deserve any attention, but because I believe in equality, we’re talking about it anyway, the Terrible 3!
TERRIBLE 3!
First up is a movie that I want to put on here because what’s the harm with having an unpopular opinion? Oh wait, everything. Who cares? One of the most successful movies of the year, “Captain Marvel,” just didn’t stick the landing for me. This had a lot of hype building up to it, but I personally just couldn’t relate. And when I saw the final product, I felt like… Wait, why’s everybody laughing and cheering? Yes, there are a couple of cool moments in the movie. For example, I dug the 90’s references such as Blockbuster Video and Dial-Up Internet. Brie Larson and Samuel L. Jackson have some good chemistry, but when it comes to Larson in general, her performance was kind of mediocre. Granted, I know grade-A acting isn’t the biggest component of a comic book movie, but Brie Larson, an Academy Award winner, felt more like she was in a couple straight to DVD films and that’s it. Granted, I think she did a slightly better job in “Avengers: Endgame,” but her performance here simply underwhelmed me. Plus, there’s a moment in this movie that references a significant part of the MCU lore (having to do with Samuel L. Jackson) and quite honestly, the way they go about it just killed my brain.
Up next is a movie that could have been great but was simply wasted. From the creators of NOT “Firefly” comes “Serenity.” “Serenity” could be somewhat fun, not to mention a great “thinker” movie, but it manages to become more boring the more I think about it. I love the movie “Interstellar,” so I was somewhat excited to see Matthew McConaughey and Anne Hathaway unite once again for another project. Both have talent as actors and they’ve proven they have great chemistry. Honestly, I’d just go back to watching “Interstellar” if this is the movie we’re getting. Although this movie came out in January so it should not be surprising that we would get a movie of this quality.
And finally, we have what may be my worst movie of the year should nothing surpass it, “Godzilla: King of the Monsters.” The sad thing about “Godzilla: King of the Monsters” is that I was actually desperately anticipating this movie. When I went to see it, I was ready for what was about to happen. Or was I? Seeing movies in IMAX may be great because it feels so big, but when they’re a big mess, what is the point? Maybe the monster fights could be fun, but if I wanted to watch this movie again, I’d probably have to be heavily drugged. Because let’s face it, as cool as big monsters are, the unforgivable part of “Godzilla: King of the Monsters” are the one-dimensional human characters. This could be slightly less intolerable if the human characters were less of a focal point during the movie, but they made me want to go back and check out some of the “Transformers” movies again! They’re THAT horrible!
I just showed you all my terrific and terrible picks, now let’s go over a few recent highlights from my blogging journey.
As usual, I kicked off my 2019 with my traditional countdowns to reflect on the year of 2018 in film. I went over the best of the year along with the worst of the year. Some of my top picks included “Spider-Man: Into the Spider-Verse,” “Eighth Grade,” and “Mission: Impossible: Fallout.” Some of my bottom picks included “The 15:17 To Paris,” “Uncle Drew,” and “Life of the Party.” I enjoy doing these countdowns every year and this is the first year that I started writing what I would put in the countdowns as early as August. I did not do this for every single movie, but I visualized the lists a long time prior to actually releasing them. This does not suggest that I avoided considering movies released past August, as evidenced by some of my picks.
After I did my lists, I saw my first 2019 release, which according to IMDb, is actually a 2017 release. Based on my experience and research, I’d call it a 2019 release, but still. That film by the way is “The Upside,” which is a remake of 2011’s “The Intouchables.” I personally have not seen “The Intouchables,” and while “The Upside” from my perspective is not really anything special when it comes to cinema, it is still a fun time. I went to see it at a press screening, and there were tons of laughs to be heard.
A couple weeks later I went to one of my local arthouse theatres to see a flick that I almost ended up passing on. Specifically, “Roma.” Why? Because when it comes to today’s media, Netflix is a company that I traditionally tend to avoid. But one of my local theaters managed to get access to a 70mm film print of “Roma,” which would be presented for a limited time. I took advantage of the opportunity and purchased a few tickets for a matinee show. Not only was the experience breathtaking, but the movie was one of the best of the past year. If I had to redo my top 10 lists of 2018, this would be on the best list, but I saw “Roma” after completing said lists.
I also decided to try out a new concept this year which I have decided to make an annual tradition, the Jackoff Awards. For awhile, over the past year, I have grown to admire the Oscars based on how much respect they tend to pay towards the film industry. Granted, they’re not perfect, but what they’ve done over the years is absolutely intriguing. I thought to myself, why not do a big awards related post? Present similar categories to other major shows, I do my own comedy bits, and it was perhaps the most ambitious post I have ever done. As for Best Picture, I decided to present what was then my top 10 of 2018, which DID include “Roma,” and instead of having me choose Best Picture, I would allow my audience to choose the winner. I figured it would allow for diversity in terms of opinions, and I managed to get a surprisingly diverse number of votes. I got some votes for “Spider-Man: Into the Spider-Verse,” “First Man,” “Ready Player One,” but the winner turned out to be last year’s biggest comic book movie, “Avengers: Infinity War.” Honestly, if there were any movie to put in my Blu-ray player on a Friday night at this point, it would most certainly be that one.
I then continued my journey in March by going to the place that I would associate with film more than any other, Los Angeles. My family and I stayed right near Hollywood Boulevard and I got to visit a few media-related sights including Warner Brothers Studios, the TCL Chinese Theatre (where I saw “Captain Marvel”), and Universal Studios Hollywood. I also got the chance to witness a live taping of “Conan.” While I didn’t make a big post related to this, I managed to briefly discuss some of my highlights here and there.
For those of you who are curious about my “Conan” taping experience, I managed to witness almost two full shows. Why? Conan O’Brien had to be somewhere when his Thursday show would air, so naturally, he had a demand, he wanted us, Thursday’s audience, to “make Tuesday’s audience look like s*it.” We got see all of Tuesday’s show, which had a couple comedy bits and an interview with Timothy Olyphant (Live Free or Die Hard, Santa Clarita Diet) and a good fraction of a Thursday night show which featured comedian Moses Storm, who joked about cell phone users, “Shark Tank,” and revealed a story where he would tape episodes of Conan O’Brien’s older talk show episodes over his religion-related educational programming. By the way, Conan in person looks like a real life action figure. Maybe it’s the makeup. Maybe it’s the lighting in the studio, but my gosh.
I also got to visit an RPX venue for the first time. For those who don’t know about RPX, they are a premium format that can be found exclusively in cinemas under Regal Entertainment Group ownership. I didn’t plan on attending RPX when I did, but I managed to get something off my list of movie-related things to do before I died. After all, “Us” just came out, and I was in the Boston area. I figured just to save time, I’d go for the earlier, but more expensive show that Regal Cinemas Fenway was providing, as opposed to another show which would be starting a half hour later. For your information, I was aware that I was going into an RPX screen. I didn’t mind my decision, I figured if I wanted to see “Us,” I’d go see it in full scale glory because I was really anticipating it. While I have still yet to see “Get Out” to this day, I have heard about its overwhelmingly positive reception and I was expecting that Jordan Peele would deliver another sick movie. While “Us” was not perfect, it was definitely worth seeing, and I wouldn’t mind watching it again. As for the RPX experience itself, I thought the seats were not too bad. The capacity was through the roof, the screen, while not entirely wall to wall, was huge. As for the sound… It is undeniably better than a standard theater, but I was a little underwhelmed. Maybe I went to see the wrong movie, maybe the employees turned the speakers down, but when I compare the sound to something like IMAX or Dolby Cinema at AMC, I would go back to both of those places first.
Moving onto April, I managed to survive the whole “Avengers: Endgame” ticket buying craze. For those not fully immersed into what I just stated, I must point out that “Avengers: Endgame” tickets went on sale April 2nd, and the Internet went balls to the wall nuts when it came to snagging tickets. I had to wait in Fandango’s line, AMC was having problems, and it got to the point where I had to buy tickets from a somewhat local cinema chain, on their own, slightly buggy website, just to make sure I could get into school on time. I almost took the train to one of my local AMCs because I could stop by there on the way to school. If I did that, I am willing to bet I would have missed out on opening night of “Endgame,” which was the day I was shooting for. After all I did want to get my review out as soon as possible, and I did manage to score a couple tickets on remaining good seats for a 9PM show. Not at an AMC, but at a Showcase Cinemas. While it was not my first choice, I don’t regret going there, because an hour before going into the cinema, I got a glimpse at everyone leaving the 22 MCU movie marathon the theater was showing over a few days. Everyone was being applauded, and they left with some merch. I recorded this aftermath on Facebook Live, and despite my camera’s focusing problems and poor cellular service, I managed to get some respectable footage. Also as a Bostonian, I was proud of myself to catch a reporter from one of my local news channels, WBZ, or CBS Channel 4. To be specific, Tashanea Whitlow. As for the premiere itself, the movie was fun, and the three hour runtime was rather justified given what we as an audience received. I didn’t think it was perfect, I’d much rather watch “Infinity War,” but it was a great finale to over ten years of films. I will also say, this may be due to where I went to see the movie, seeing “Infinity War” was also a better experience. Because I went to see it at a 7PM show on opening Thursday on an eight story IMAX screen. If you have ever gone to see an event-type film in India, that is one of the most solid comparisons I could make to my experience. It was like going to a Stanley Cup game or something. “Endgame,” which was in a sold out theater in regular 2D, had barely any applause (although some reactions here and there), and out of everyone in the theater, I may have been the most obnoxious. If I had to make a sports comparison, I’d probably say it was like going to a slightly more competitive golf tournament. It was lively at times, but not like the roof was being blown off the place. I know some people are not particularly fans of going to theaters where everyone is reacting to the film’s key moments, but as a fan of the MCU, it’s something that I considered to be a privilege during my “Infinity War” experience.
May was an interesting month for me, because I just finished my first year of college, so I got a little more active on the Scene Before side of things. I’m now trying to earn revenue with the blog, I saw more movies than I did in months such as March or February, and I even changed my domain name. Unfortunately, scenebefore.com was taken, so I wanted to make sure I can fit something that would associate with me, but also be precise. I thought something like moviereviewingmoron.com, while definitely appropriate, is a tad too long. Luckily, after some searching, I found out that flicknerd.com was available. Did I ever call myself “flick nerd” on this blog? No, but I figured it would be a cool name to have because its simplicity will probably gain enough traction overtime. It’s hard to tell though, because this advanced blogging journey, at least from my point of view, is just getting started. I’m looking for sponsors, more potential viewers, but I’m also trying to be the same movie reviewing moron that everyone has come to know.
One of my highlight posts of the month is titled “What THE BIG BANG THEORY Has Meant To Me: A Nerd’s Perspective.” For those who are unaware, CBS’s “The Big Bang Theory” just finished it’s twelfth and final season on the air, so I figured I’d take some time to remind the world of what the show has meant to me as a fan, as someone who would constantly tune in to new episodes, and most of all, as a nerd on the autism spectrum. I probably won’t have time to give a detailed description of everything I said, so if you want to read the post, click this link!
I also saw another one of my favorite films so far this year, “John Wick: Chapter 3 – Parabellum!” Not only that, but like I mentioned earlier, I managed to catch a Dolby Cinema presentation of it, which surprisingly, didn’t make me feel like I was getting shot in the head, which may be a good thing. Seriously though, “John Wick: Chapter 3” is probably the best installment of the franchise yet, and Keanu Reeves might now just have a better trilogy than “The Matrix!”
But I cannot say the end of the month was great, because “Godzilla: King of the Monsters” happened. Sad day. Even though I went to see the film in full scale IMAX glory, it didn’t feel like something worth my time.
Moving onto June, I managed to do something pretty cool with my dad. He and I go to the movies together a lot because for the most part we have similar tastes. We match together when it comes to sci-fi, action, comic book-based material, comedy, etc. However he has never been to an advance press screening, so I thought just for fun he and I could do so for the new movie, “Men In Black: International.” It’s a movie that I probably would have checked out had I waited for it to release everywhere. After all, “Men In Black 3” is my favorite movie of 2012. However, since this was free, not to mention, early, I thought dad and I could trek to the theater and see what this movie had in store. I personally enjoyed it. I know some people were scared of how this movie would turn out based on the marketing (Then again, it’s a Sony film, whaddya expect these days?). I thought the first trailer was alright, but not great. The second trailer was an improvement and actually got me more interested in the film. As for the film itself, it is not Shakespeare, but it’s a fun time at the movies. Chris Hemsworth and Tessa Thompson have great chemistry together and I think Kumail Nanjiani’s character is a fantastic comic relief.
The best movie I saw this month was “Toy Story 4,” which I must point out, I probably was not even looking forward to back when it was announced. Boy, times do change! Unfortunately, I had to witness brain cell erasers such as “Replicas,” which I bought on Blu-ray since I had some Best Buy rewards to waste. I also saw “The Secret Life of Pets 2,” which is worse than getting scratched in the eye by a cat. Yes, Harrison Ford is in it. Yes, he is the best part of the movie. But I might as well be at the point where I would rather have a dog sniff my butt then go so that film again!
Now that I have recapped my highlights, I just want to remind everyone of what’s being planned for the future. Here is my unofficial schedule for the second half of 2019!
JULY:
Throughout the month of July, there are not that many movies coming out compared to other months in the year (at least according to Wikipedia), but I am planning on catching a few blockbuster highlights such as “Spider-Man: Far From Home,” despite how little anticipation I have for it. I also really want to catch Disney’s live-action remake of “The Lion King.” I am not a fan of the Disney live-action remake trend, but I feel that this movie will be a great theater experience and also rather compelling. I don’t know how much it is going to be a carbon copy of the original or how much it’ll go in its own direction, but I am somewhat curious as to what will come of it. I know it is longer than the original, which slightly worries me, because it could add something that perhaps the 1990s film didn’t even need, therefore ruining my experience. Plus, it’s being directed by Jon Faverau, who also worked on 2016’s “The Jungle Book,” another Disney live-action remake, which was one of my favorite movies of said year. I also really want to check out “Crawl.” The trailer didn’t have me fully onboard, but I am still curious as to how this film will turn out. Plus, it’s being produced by Sam Raimi, who is known for his work in the horror industry, and one of my favorite comic book movie directors.
This does not mean that I want to ignore independent work, because on the same weekend as “Spider-Man: Far From Home,” A24 is releasing one of my most anticipated movies of the summer. Specifically, “Midsommar.” When your movie is A: Directed by Ari Aster, who had a phenomenal feature-length directorial debut last year with “Hereditary,” another A24 film, and B: Described by Aster as “a Wizard of Oz for perverts,” I am instantly intrigued. “Midsommar” takes place in rural Sweden as a young couple takes a vacation and settles in the area. Alongside their friends, they eventually discover that this area has a festival that takes place once every ninety years, which creeps them all out. I want to see Ari Aster succeed, so hopefully this film does well.
Speaking of successful filmmakers, another well-known director in the industry, specifically Quentin Tarantino, is going to be releasing his ninth film, “Once Upon a Time In Hollywood.” And to be honest, as anticipated as I am to see this film, I have to let something out. I have not seen much of Tarantino’s work. I will most likely be going to see “Once Upon a Time In Hollywood” when it comes out, maybe in 35mm, but before I do that, I am going to be doing a small series of reviews for Quentin Tarantino movies. In fact, I already have a few lined up. Specifically, “Pulp Fiction,” “Django Unchained,” and “The Hateful Eight.” Those reviews will be done as weekly projects and they should all be up before the official release date of “Once Upon a Time In Hollywood,” July 26th.
AUGUST:
Remember how I would occasionally announce I am going to cons from time to time? For some reason I have failed to do that this year. It’s not like I am not going anywhere, but I have just failed to put myself in front of my keyboard and try to say, “Hey guys, here’s where I’m going, stalk me!” Not that don’t mind the attention, I’m just saying. But if you really want to know about my next con, I do have it booked, and I will be going to Terrificon, which for those of you who have been following me for some time, you’d know that is also the first con I ever documented on this blog. And I am thinking of doing something a little different this time, just to spice things up. I’m trying to push more video content into my posts, maybe I’ll insert a compilation of the con’s highlights. I’ll record it on my camera, maybe my phone, whichever has more memory at the time. Maybe I’ll post it on YouTube and link it here. Who knows? But here on Scene Before I am trying find ways to innovate, and maybe this could be one of them.
Speaking of cons, this is NO GUARANTEE, partially because I have not even bought tickets, but there is one convention that is about a half hour away from my house that I kind of want to go to. Whether or not I am going, that’s a different story, but should things go in a certain direction, I may end up going to Fan Expo Boston, which is a con I have surprisingly never been to. And the guest list this year, aside from a couple big cancellations, is solid so far. You’ve got Zachary Levi (Shazam!, Tangled), who I will say, even if you are not into his work, he is a fun guy to meet, he is upbeat and has a massive sense of charm. Part of the cast of “Blade Runner” is going to be there including Sean Young, Rutger Hauer, and Edward James Olmos. I have a feeling there are more guest announcements coming our way, and if there are, I cannot wait to hear them, because there have been a lot of cool names who were there over the years to the point where I almost have slight regrets on missing out. If I were to get tickets to Fan Expo, I’d probably just go for one day. After all, Terrificon is the week prior, and I am staying overnight during that weekend, so my budget might be slightly higher at that event compared to Fan Expo.
Moving away from cons, I will say that my biggest film catches for August right now have to be “Hobbs & Shaw,” “Dora and the Lost City of Gold,” “Good Boys,” “Where’d You Go Bernadette?,” and “Scary Stories to Tell in the Dark.” There is not much from August that I am truly anticipating, but I will inevitably go see a few things here and there. And if you want to know something, I only put down “Dora and the Lost City of Gold” because let’s face it, “Dora the Explorer” was a part of my childhood, and nostalgia equals money nowadays. Granted, this movie looks a tad more adult-friendly than the cartoon. But am I looking forward to it? Hell no. In fact, I am thinking it is only going to ruin my childhood, but I might as well give it a chance just because I am a nice guy. I saw the recent “Power Rangers” film partially out of nostalgia and that worked for me, might as well do it with “Dora” and see if that works.
SEPTEMBER:
If I had to predict my least active month for the rest of the year, I have to call it right now, September is certainly a contender. For one thing, I’m going back to college, so I need to adjust to a new routine. I’m still going to keep my promise of doing at least one post within every 7 days or so, that way you can keep witnessing my constant dedication to this blog. I’m probably not gonna go see “IT: Chapter Two” mainly because I still have not seen the first one. Although the cast is pretty nifty from what I have experienced. But I am interested in “The Goldfinch,” I have some slight intrigue towards “The Report,” and maybe I’ll check out “Abominable.” I saw one of the trailers for it, and it looks like it might not be a new animated classic or anything, but I am somewhat curious to check it out, partially because even as an adult, I still have a slight need to check out animations from time to time. Plus, it is from DreamWorks, and I’m currently trying to seek out their next big thing. “Kung Fu Panda” is done, “How to Train Your Dragon” seems to be done, maybe this, or something else, can be their next kickstarter to a solid franchise. Then again, apparently they’re making sequels to “The Boss Baby,” “The Croods,” and “Trolls,” so why should I expect absolute quality? Nevertheless, it’s worth a shot.
Although if you had to ask me what my most anticipated movie would be for the month of September, it’s a no brainer, “Ad Astra.” I love space, I love compelling, dramatic stories involving space travel, even if it is close to Earth. Plus, the second half of the year for numerous ages of my life have typically contained at least one epic space movie. Maybe “Ad Astra” will be the next to join the ranks with other movies from this decade like “The Martian” and “Interstellar.”
OCTOBER:
This October is pretty interesting to me, because there will be a weekend where my mother and sister are out of the house and I will quite honestly, need something to do. I can’t just stay trapped behind walls! I have to see the world! Nevertheless, that particular weekend is the release of “Joker,” which I am inevitably going to check out no matter what, but for the sake of having an early review, I’m going to check it out as soon as possible. I have Fridays off from school this upcoming semester, maybe I’ll do it then. The following week is the release of Will Smith’s “Gemini Man,” directed by Ang Lee, so I might see that. And the week after is slightly bigger because Taika Waititi is coming out with his latest directorial feature, “Jojo Rabbit,” where believe it or not, Waititi himself plays Hitler. I never pictured that, but this film certainly has my attention. That same week is also the release of “Zombieland: Double Tap.” I had fun with the first “Zombieland.” I enjoyed the chemistry between Jesse Eisenberg and Woody Harrelson, and it has, at least to me, a pure highlight from Bill Murray’s acting career. And to my surprise, he’s coming back for this movie! I also want to check out “The Aeronauts” which is being released by Amazon, and the reason why I want to check it out is because it is Amazon’s first attempt at an IMAX run and it is also being released a week early in that format. The film will technically be in standard theaters in November after it’s week-long IMAX run. And if this is the case, this reminds me of the excitement I had for Robert Zemeckis’ “The Walk,” because that released a week early in IMAX and that was quite an experience.
Speaking of lesser known films, one other thing I want to check out is the South Korean flick “Parasite.” It’s getting tons of buzz at film festivals, having earned Palme d’Or at Cannes, winning the Sydney Film Festival, and already making tons of money in Korea. The film’s US release is this October, which would put it in a reasonable spot to be remembered by Academy and Golden Globe voters.
NOVEMBER:
This November is particularly interesting. Because November 1st is the day I’m heading off to Providence for Rhode Island Comic Con, and that’s the day after Halloween! I’m not cosplaying (at least I have no plans to right now) at this con, but I just want to walk around the convention floor for hours and stumble upon every costumed individual and wish them a Happy Halloween. Nevertheless, I am staying true to my annual tradition of going to Rhode Island Comic Con. The guest list is usually filled to the brim, so I cannot wait to hear more announcements over these upcoming months. Even so, the convention has had some huge announcements for guests thus far. Some guests include Dave Bautista (Guardians of the Galaxy, Blade Runner 2049), William Shatner (Star Trek: The Original Series, Boston Legal), George Takei (Star Trek: The Original Series, Kim Possible), Steven Yeun (The Walking Dead, Final Space), and to my utter surprise, and possible delight, Chevy Chase. By the way, Chase made an announcement about his upcoming appearance online and the video he made for it is very funny.
Hey @ricomiccon Fans! Still wondering if you should come to this year's convention? Allow @ChevyChaseToGo to talk you into it!
— Rhode Island Comic Con (@ricomiccon) June 27, 2019
Sticking to the announcement wishlist concept, I recently made a submission on the con’s website suggesting names of five possible guests that I want to see. They include: James Murray, Curtis Armstrong, Kunal Nayyar, Doug Walker, and James Holzhauer. I could be mistaking Doug Walker for somebody else, but even if I am, he would be fun to see at the con. Of all these names, the one that really stands out to me is James Holzhauer. Out of all the people on this list, he is the least “celebrity-like” of all of them. James Murray comes close, but barely misses the mark. For those who are unaware, Holzhauer is the name of the recent “Jeopardy!” contestant who wouldn’t stop taking the show’s money. He has nearly broken Ken Jennings’ regular winnings record, only to be stopped by an opponent who beat him by more than double his final total for the game he lost. I think Holzhauer appearing at Rhode Island Comic Con would not just be unique, but also entirely appropriate. After all, it would probably bring in a new audience of people who would otherwise skip out on cons. Plus, as a game show enthusiast, I cannot help but keep talking about Holzhauer like he’s my own child. It’s almost as if being able to catch the latest “Jeopardy!” episode or at least reading up on the latest stats was the ultimate bragging right. Also, this year I’m going with a VIP ticket, which comes with various perks.
VIP Ticket Perks:
3 day admission
Early bird admission (9AM Sat & Sun)
Private VIP Entrance
Private VIP Lounge
3 Exclusive RI Comic Con Show Prints
Rhode Island Comic Con Swag Bag
20% off RICC Branded Merchandise
Exclusive VIP 2019 RI Comic Con Badge
Exclusive RICC AR Comics-Comic Book
Exclusive RICC Comic Book
VIP Autograph Fast Pass Line
VIP Photo Op Fast Pass Line
Chance to Win 2020 VIP Pass
One Exclusive Mystery Item
I am personally excited for the con, and believe it or not, it is not the first time I’m getting a VIP badge, because the first time I went, which was in 2015, I managed to get said badge as well.
That same weekend is also the release of the new “Terminator” film, “Terminator: Dark Fate.” It is a cliche title, but its first trailer, personally had me intrigued. I’m excited to see what Tim Miller has up his sleeve in terms of direction. I am somewhat excited to see James Cameron involved again, although I am slightly worried because we now have more disposable “Terminator” movies than memorable “Terminator” movies. Let’s just hope we can change that.
Some of my other most anticipated films of the month include “Ford v. Ferrari,” “Knives Out,” and “A Beautiful Day in the Neighborhood.” “Ford v. Ferrari” takes place during a race to determine which of the two recently specified car brands will dominate. “Knives Out” is an upcoming mystery crime film directed by Rian Johnson. I did not like his interpretation of the “Star Wars” universe, but it does not mean I am not willing to check out his future work. Plus, this movie has a number of big names that I imagine a lot of people would like to see. Some include Daniel Craig (Casino Royale, Logan Lucky), Chris Evans (Captain America: The First Avenger, Gifted), Lakeith Stanfield (Black Panther, Sorry To Bother You), Ana de Armas (Blade Runner 2049, War Dogs), Jamie Lee Curtis (Halloween, Scream Queens), the world’s best Kevin Spacey impersonator, Christopher Plummer (All the Money in the World, A Beautiful Mind), and recent Jackoff winner Toni Collette (Hereditary, The Sixth Sense). As for “A Beautiful Day in the Neighborhood,” it is in the current conversation to be my most anticipated film for the remainder of the year. For one thing, I saw “Won’t You Be My Neighbor?” last year, which much like “A Beautiful Day in the Neighborhood,” is about Mister Rogers. That documentary not only compelled me, but reminded me of my personal flaws in my childhood, and maybe inspired me to be a better person. I still rage out on this blog a lot, but it’s something that I don’t really do for me, I do it for the entertainment of others, so that’s different. But it reminded me of how much it pays to respect those around you. Plus, TOM HANKS IS PLAYING THE STARRING ROLE?! Who else could do that?! He’s practically the nicest guy in Hollywood! SIGN ME UP! Believe it or not, that comes out the same weekend as “Frozen II,” but who cares about that?! Rogers for life!
DECEMBER:
The end of the year is always a crazy time for me, but just like last year, it’ll perhaps be less busy than it has been in other years. My fall semester will end during the month, and I’ll be in the cycle of watching previous movies from the year at home. This does not mean that I’ll be skipping theatrical releases, because award season is in full swing. This means I’ll be paying extra close attention to films that receive Golden Globe nominations, and as for reviewing movies I watch at home, the chances of that are very slim. But this does not mean that big blockbusters are entirely off the table. For one thing, they tend to sometimes do pretty well in certain technical categories, and we have another “Star Wars” film this year. I have intentions to go see “Star Wars: The Rise of Skywalker” opening Thursday night, mainly because I want to buy tickets as early as possible. If I can’t do that, I am going to try extra hard to find an available press screening, because aside from “Endgame,” “The Rise of Skywalker” is perhaps the biggest movie of 2019. Aside from being titled “Star Wars,” it is supposed to end “The Skywalker Saga,” and J.J. Abrams is directing again. I was not a huge fan of “The Last Jedi,” but I love “The Force Awakens” like it is my own brother. I am honestly more excited for “The Rise of Skywalker” than I was for “The Last Jedi” before that came out because I was somewhat worried that “The Last Jedi” would be a carbon copy of “The Empire Strikes Back.” Turns out it wasn’t, despite similarities to older films in the saga. And I even say this knowing how some things in “The Last Jedi” turned out. Having seen the trailer back in April, knowing certain plot points that could play out, and realizing J.J. Abrams could save this sequel trilogy, I am rather giddy for this December. But despite my excitement, I gotta ask. HOW IS PALPATINE STILL ALIVE?! I am excited to possibly see him in this film, but really?! When he was thrown down the pit in “Return of the Jedi,” yeeaah, HE F*CKING DIED. There is no coming back from that. I’m intrigued, I just need to be convinced.
When it comes to smaller films, one such film I am very excited for is “Little Women.” The film is supposed to explore the lives of sisters as they live in 1860s Massachusetts. It may not be my type of movie on paper, but one reason why I am excited is because the film is being directed by Greta Gerwig, who also helmed one of the best coming of age stories I have seen in recent years, “Lady Bird.” In addition to that, the cast is killer! This movie’s got Meryl Streep (Sophie’s Choice, The Iron Lady), Emma Watson (Beauty and the Beast, Harry Potter and the Philosopher’s Stone), Laura Dern (Big Little Lies, Jurassic Park), Saoirse Ronan (Lady Bird, Mary Queen of Scots), and Timothée Chalamet (Interstellar, Beautiful Boy)! I am also probably going to be looking into “1917,” which is a war film. Those tend to often go for awards, which is why I have my sights set on it. There are a couple films that I might check out that I would probably regret seeing, but the only real film that I’d struggle with reviewing is “Fair and Balanced.” Granted, this does not mean I am not looking forward to the film, nor am I expecting to be underwhelmed with it, in fact it sounds rather intriguing from a storytelling point of view. But the movie is about relationships between women and Fox News owner Roger Ailes, and I feel that it is going to be rather hard to keep my political opinions out of the review. I’m not saying I am a core conservative that keeps a closed mind, I try to see all sides and then form my own opinion. I have made various political jokes here and there on Scene Before, but politics is not my top priority, especially when you consider how divided we are as a country right now. Although I did manage to check out “Vice” last year, which was pretty good, but part of it had to do with the buzz it has been getting. Who knows? Maybe I’ll check out “Fair and Balanced,” for all I know it could be the best movie of the year, but I feel like it would be hard to review if I’m going to have to inject my experience with how the world operates in terms of politics. We’ll just have to see.
And of course, I’ll be finishing off the year, or perhaps more likely, kicking off next year, by recapping my top 10 BEST and WORST movies of 2019. I enjoy doing these countdowns every year, because I get to honor films one more time, and also give myself a minor stress release.
Although I must remind you, it is 2019, and here on Scene Before I am trying to constantly find new ways to deliver exciting content to you all. In 2017, I did a couple of cutaway style parodies, in 2018 I did a post talking about my Blu-ray collection, and just this year I introduced the world to the Jackoff Awards. The question is, where I do I go next? I’ve done tons of countdowns, reviews of the past, reviews of the present, what could be next? I know! ALL OF IT IN ONE. Ladies and gentlemen, if you have been following Scene Before and saw one of my posts in April, you’d know that I put out a trailer for something I once referred to as “Project 2020.” Although, based on statistics, I doubt many of you have even glanced at that post. But for those of you who know what I’m talking about, good for you. You get a “good job” sticker! But for those of you who don’t know, watch this trailer down below!
*ALL COPYRIGHTS BELONG TO THEIR RESPECTIVE OWNERS*
That’s right! I am going to be crafting a list of my highlight movies of the 2010’s, and I must have you know, I am setting this list up to be bigger than the lists I traditionally do at the end of the year. While this is still in planning stages, I will be intending to make this list perhaps a top 25, maybe a top 50. I was also debating on a top 100 as well. Depends on how much time I have. I am honestly MORE THAN EXCITED to work on this list, and release it to you all. I started Scene Before in 2016, which means I did not get too many chances to talk about films from years prior, so not only is this a personal reflection of various films I watched during my blogging journey, but a reflection of an entire ten year span that I lived through before becoming this active on the Internet. I’m not gonna say anything, but 2014 was a great year for film as far I’m concerned, so depending on how the rest of 2019 plays out, we might see a good number of films I’m passionate about from that year make the list. This is not to put down any other year from this decade, I’m just giddy of what’s to come…
And by the way, a worst list is in the works too.
At home I am making an effort to watch various films that have come out this decade just to catch up, and maybe add something to the best or worst list at the end of the year. I’m not gonna get into too much detail, because I do want to save some secrets for when the list comes out, but I am stoked just to be working on this.
Thanks for reading this post! If you like Scene Before and want to see more content, consider following me either with an email or WordPress account! As for upcoming content, I want to remind everyone, in case they forgot by now, I will soon be starting my Quentin Tarantino review series, which will eventually culminate with a review either at the end of July or beginning of August with my thoughts on “Once Upon a Time in Hollywood.” I cannot wait to get started on this, Tarantino is a filmmaker I have often admired behind the scenes, but I have barely seen any of his material. Now is a good time to start! Also, be sure to check out my Facebook page! Get your latest updates from the movie reviewing moron by using Facebook, the home of some of the all-time laziest efforts at wishing someone a happy birthday. Be sure to stay tuned for more great content! I want to know, is there something that you would like to see be done here on Scene Before, perhaps for this half of 2019? Or, what is your favorite Scene Before moment, post, anything that I have done so far this year? It can even be this one for all I care! Let me know down below! Scene Before is your click to the flicks!
Remember how I would occasionally announce I am going to cons from time to time? For some reason I have failed to do that this year. It’s not like I am not going anywhere, but I have just failed to put myself in front of my keyboard and try to say, “Hey guys, here’s where I’m going, stalk me!” Not that don’t mind the attention, I’m just saying. But if you really want to know about my next con, I do have it booked, and I will be going to Terrificon, which for those of you who have been following me for some time, you’d know that is also the first con I ever documented on this blog. And I am thinking of doing something a little different this time, just to spice things up. I’m trying to push more video content into my posts, maybe I’ll insert a compilation of the con’s highlights. I’ll record it on my camera, maybe my phone, whichever has more memory at the time. Maybe I’ll post it on YouTube and link it here. Who knows? But here on Scene Before I am trying find ways to innovate, and maybe this could be one of them.
Scene Before 