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Awix (3310 KP) rated Project Power (2020) in Movies
Sep 9, 2020
Another glossy but slightly underwhelming Netflix genre movie. A new drug granting temporary superpowers is being sold on the streets of New Orleans, and a maverick cop, a ex-military drifter and a teenage girl team up to put a stop to it.
Maybe some of these Netflix movies would be more impressive on a big screen where all the special effects and sound design would get an appropriate delivery and have the faculty-numbing effect this sort of film is depending on. Or maybe not, I don't know. As it is this has an interesting premise, charismatic leads and seems to genuinely want to do some social commentary about US society, the nature of power, etc etc. But that would require a level of downbeat grittiness wholly at odds with the extravaganza of lavish CGI and show-offy direction this film also wants to be, and it's the latter elements that win out. As a result it is watchable and engaging on a superficial level but you sort of lament the loss of the more interesting and restrained film this could have been instead. Hey ho.
Maybe some of these Netflix movies would be more impressive on a big screen where all the special effects and sound design would get an appropriate delivery and have the faculty-numbing effect this sort of film is depending on. Or maybe not, I don't know. As it is this has an interesting premise, charismatic leads and seems to genuinely want to do some social commentary about US society, the nature of power, etc etc. But that would require a level of downbeat grittiness wholly at odds with the extravaganza of lavish CGI and show-offy direction this film also wants to be, and it's the latter elements that win out. As a result it is watchable and engaging on a superficial level but you sort of lament the loss of the more interesting and restrained film this could have been instead. Hey ho.
LoganCrews (2861 KP) rated Sunshine (2007) in Movies
Sep 20, 2020
Frantic, superhuman space escapism (spacapism? spacecapism? spacescapism?) which revels in chucking its cast of unfortunate characters head-first into ludicrous amounts of mental anguish, bodily torment, and spiritual deformation with nary a single solitary moment of repose. What do you do when you can't even trust your own mind (especially if it's scarier when you can) and don't even have the time to be sure before you act? Part sumptuous feast for the senses, part wildly fun men-on-a-mission space adventure, part bonkers slasher flick, part volatile mindfuck. Still one of the best looking movies you're likely to find, I'm never any less than blown away with how orgasmic this looks and sounds - the CGI is just immaculate. And the tech-fetish is so striking but never intrusive. Bonus points for being a pre-apocalyptic, time sensitive future sci-fi thriller that doesn't turn into a surface-level lecture on misplaced technophobia or "maybe *we're* the real virus" nonsense. Boyle and Garland are a dream team duo, knocked it right out of the park with this one - five hundred times the movie 𝘚𝘭𝘶𝘮𝘥𝘰𝘨 𝘔𝘪𝘭𝘭𝘪𝘰𝘯𝘢𝘪𝘳𝘦 is.
Xanderath (690 KP) rated It: Chapter Two (2019) in Movies
Sep 6, 2019
the funs just beginning
Contains spoilers, click to show
Im not usually a big horror movie lover, but having watched the IT double bill, i can say im getting more accustomed to the strange pleasure that a horror can bring. Bill skarsgard is honestly terrifying as pennywise. As the movie follows on from the first installment, youd expect a slow introduction onto how the kids have all grown up. But the movie surprised me by diving in early with a quite brutal scene that highlights some of the deep seated issues of the Derry folk. As with the first movie Pennywise wastes no time making an appearance. Some of the scenes in this movie were quite shocking even when you expect whats about to happen because of the way the suspense is built. One of my favourite things about this movie is the way it is actually hilarious, there are so many funny moments it keeps you off balance. The effects were so unsettling with how good they were. No tacky CGI here, its top notch. Also the best cameo ive seen in a long time. Overall a very good movie which i thoroughly enjoyed even though it was quite long.
Matthew Krueger (10051 KP) rated The Raven (1963) in Movies
Aug 21, 2020
Vincent Price (2 more)
Boris Karloff
Jack Nicholson
Campy and Chessy
The Raven- is a excellent slapstick comic-horror film that is based off of Edgar Allen-Poe's Poem. The effects are cheesy meaning bad but those were effects back in the 60's. Now we have CGI. So looking back those were the effects that their had. And it got better overtime. I just love the campest of this film. Its horror but slapstick horror with cheesy effects.
The Plot: Magician Erasmus Craven (Vincent Price) is still deeply depressed two years after the death of his beloved wife, Lenore (Hazel Court). One day, he's visited by Adolphus Bedlo (Peter Lorre), who has been transformed into a raven after losing a duel to Dr. Scarabus (Boris Karloff), an evil wizard. After Craven transforms Bedlo back into a human, Bedlo claims to have seen Lenore's ghost at Scarabus' castle, prompting the two to head to Scarabus' castle to seek Craven's lost love.
I love the performaces by Vincent Price, Boris Karloff and Jack Nicholson. Three generations of actors right their. Plus Roger Corman directed it.
Its a cheesy campy film but got to love it cause of the slapstick.
The Plot: Magician Erasmus Craven (Vincent Price) is still deeply depressed two years after the death of his beloved wife, Lenore (Hazel Court). One day, he's visited by Adolphus Bedlo (Peter Lorre), who has been transformed into a raven after losing a duel to Dr. Scarabus (Boris Karloff), an evil wizard. After Craven transforms Bedlo back into a human, Bedlo claims to have seen Lenore's ghost at Scarabus' castle, prompting the two to head to Scarabus' castle to seek Craven's lost love.
I love the performaces by Vincent Price, Boris Karloff and Jack Nicholson. Three generations of actors right their. Plus Roger Corman directed it.
Its a cheesy campy film but got to love it cause of the slapstick.
Sarah (7798 KP) rated Interview with the Vampire (1994) in Movies
May 17, 2020
A classic vampire tale
I'm rather ashamed to admit that I've never seen this film, and I've only been prompted to watch it now after having read the book recently.
As vampire tales go, I'd be inclined to say this is one of the classics and definitely one of the better vampire films I've seen even considering it's age. It has a great gothic and chilling feel to it, and has a very interesting plot. It has some slightly dodgy CGI moments but fortunately due to it's age relies more on some rather decent physical effects. There's a great cast in this, although I'm rather polarised on their performances. Tom Cruise seems a little too OTT yet Brad Pitt seems too reserved, even considering Louis's character.
This film also does a decent job of adapting the book. The book I found rather long winded at times and the film helps summarise the main story without being too drawn out. Although there were a few times when it felt like the film had missed out a little too much of the detail.
Overall this is a decent daptation of the book and a worthy example of a great vampire flick.
As vampire tales go, I'd be inclined to say this is one of the classics and definitely one of the better vampire films I've seen even considering it's age. It has a great gothic and chilling feel to it, and has a very interesting plot. It has some slightly dodgy CGI moments but fortunately due to it's age relies more on some rather decent physical effects. There's a great cast in this, although I'm rather polarised on their performances. Tom Cruise seems a little too OTT yet Brad Pitt seems too reserved, even considering Louis's character.
This film also does a decent job of adapting the book. The book I found rather long winded at times and the film helps summarise the main story without being too drawn out. Although there were a few times when it felt like the film had missed out a little too much of the detail.
Overall this is a decent daptation of the book and a worthy example of a great vampire flick.
LeftSideCut (3778 KP) rated Slaughterhouse Rulez (2018) in Movies
Sep 30, 2020
Slaughterhouse Rulez is a textbook example of a swing and a miss. It tries to give us a nice slice of comedy horror, but executes it pretty miserably.
A few things I liked...
- The fracking company were moustache twirling type villains, and were fairly amusing in the tiny amount of screentime dedicated to them.
- The CGI for the monsters is pretty decent, and the practical effects for close ups are also good.
- The whole final act when the monsters eventually turned up was effectively entertaining
But....
It takes a painfully long time to get to that bit. The hour plus of runtime preceding the monsters attacking is mostly boring setup, messy pacing and dialogue and a waste of a good cast.
The younger cast are fine, but it's hard not to feel that Simon Pegg, Nick Frost, Margot Robbie and Michael Sheen are just severely under utilised, in a sometimes humorous comedy that is trying ball achingly hard to be an Edgar Wright movie.
Slaughterhouse Rulez isn't awful by any means, more accurately frustrating because it feels like a much better movie is buried somewhere beneath the final product.
A few things I liked...
- The fracking company were moustache twirling type villains, and were fairly amusing in the tiny amount of screentime dedicated to them.
- The CGI for the monsters is pretty decent, and the practical effects for close ups are also good.
- The whole final act when the monsters eventually turned up was effectively entertaining
But....
It takes a painfully long time to get to that bit. The hour plus of runtime preceding the monsters attacking is mostly boring setup, messy pacing and dialogue and a waste of a good cast.
The younger cast are fine, but it's hard not to feel that Simon Pegg, Nick Frost, Margot Robbie and Michael Sheen are just severely under utilised, in a sometimes humorous comedy that is trying ball achingly hard to be an Edgar Wright movie.
Slaughterhouse Rulez isn't awful by any means, more accurately frustrating because it feels like a much better movie is buried somewhere beneath the final product.
Awix (3310 KP) rated Terrordactyl (2016) in Movies
May 25, 2020 (Updated May 25, 2020)
A good example of the phenomenon where people who are clearly competent at their jobs work hard to ensure they make a deliberately bad film. Gardeners, their barmaid friend, her flatmate, and a comedy alcoholic war veteran are caught up in a plague of carnivorous pterosaurs from outer space; the plot is basically bits from Sharknado, The Giant Claw, and Tremors all jumbled up together.
A bit overlong even at only 95 minutes, but there is the odd funny line, a sort-of coherent plot, and various attractive young people, the female ones in tight tops. But neverthless: back when special effects were routinely awful, film-makers worked hard to make their stories and characters seem credible; now any goon with a laptop can do decent CGI, the default mode seems to be 'let's not get caught taking ourselves remotely seriously'. Some kind of creative cowardice is in operation at some point in the making of a film like this one. Sample line of dialogue, after one of the female characters is eaten: 'You reptilian asshole! I was about to get laid!' Casablanca, eat your heart out.
A bit overlong even at only 95 minutes, but there is the odd funny line, a sort-of coherent plot, and various attractive young people, the female ones in tight tops. But neverthless: back when special effects were routinely awful, film-makers worked hard to make their stories and characters seem credible; now any goon with a laptop can do decent CGI, the default mode seems to be 'let's not get caught taking ourselves remotely seriously'. Some kind of creative cowardice is in operation at some point in the making of a film like this one. Sample line of dialogue, after one of the female characters is eaten: 'You reptilian asshole! I was about to get laid!' Casablanca, eat your heart out.
LeftSideCut (3778 KP) rated Night Teeth (2021) in Movies
Nov 3, 2021
I honestly wasn't expecting a whole lot from Night Teeth, so I was suitably surprised by just how tight and entertaining it turned out to be.
Jorge Lendeborg Jr. is a charming and likable protagonist and a hero that's easy to root for, as is Debby Ryan. The two of them have great chemistry and carry the bulk of the film well. Lucy Fry and Alfie Allen are convincing in the more villanous roles, and smaller appearances by the likes of Sydney Sweeney, Megan Fox, and Alexander Ludwig ensure that the overall cast is a strong one.
The pacing is snappy and never gets boring, and the narrative is one that handles its multiple threads nicely, and avoids bogging down the plot with too much lore building.
Another plus is how visually pleasing the whole thing is. Night Teeth is draped with striking colour, sticking out against its night time LA backdrop.
It's certainly not without it's flaws - some of the dialogue doesn't land well, and the CGI, although minimal, is glaringly shit in places, but it's not enough to tarnish an entertaining vampire flick, that's often funny, and easy on the eyes.
Jorge Lendeborg Jr. is a charming and likable protagonist and a hero that's easy to root for, as is Debby Ryan. The two of them have great chemistry and carry the bulk of the film well. Lucy Fry and Alfie Allen are convincing in the more villanous roles, and smaller appearances by the likes of Sydney Sweeney, Megan Fox, and Alexander Ludwig ensure that the overall cast is a strong one.
The pacing is snappy and never gets boring, and the narrative is one that handles its multiple threads nicely, and avoids bogging down the plot with too much lore building.
Another plus is how visually pleasing the whole thing is. Night Teeth is draped with striking colour, sticking out against its night time LA backdrop.
It's certainly not without it's flaws - some of the dialogue doesn't land well, and the CGI, although minimal, is glaringly shit in places, but it's not enough to tarnish an entertaining vampire flick, that's often funny, and easy on the eyes.
Sheridan (209 KP) rated Love, Death & Robots in TV
Apr 20, 2019
CGI is amazing (1 more)
The Perfect Mix of Morbid Humour and Gore
A Masterpiece of the Weird and Fantastical
This is going to be a long one, I'm going to review each episode as they aren't linked or related in any way, but just know, they are all gorgeous works of art and you should totally go watch the whole thing ?.
Beyond the Aquila Rift - CGI was beautiful from the moment it started, I was like 'shiiiit this series is going to be everything I love'. This one is about a crew making a delivery in space, however nothing quite goes to plan. For me, it had a very 'Mass Effect' feel with the FTL travel. I was not expecting a full out sex scene in the first 6 minutes but then again the episodes are on average only 16 minutes long. It was rauncy yet somehow, still quite tasteful, but as with most animated stuff there was an excessive amount of topless boob shots. I won't spoil it, but it ended up as a horrific mind fuck that left a shiver down my spine ?.
Secret War - Again, CGI was epic and the story was the perfect mix of unsettling, gory, and tragic. It follows a platoon of Red Army soldiers who are hunting down mysterious 'monsters'. There's blood, there's guts, a guy has an arm off at one point - what more could you ask for?
Sonnie's Edge - Immediately feels hellishly grunge and rave. I absolutely adored the blacklight effects and a strong female styling, the fight is gorgeous, the monsters have almost a Kaju feel which really made me happy as I love Pacific Rim. Of course this epicness is immediately ruined by a sloppy scene (I won't spoil it) which cemented the fact in my mind this was written by a man (I checked later and found I was correct), it does save itself with a fantastic twist at the end though so it was still an amazing short.
Sucker of Souls - This had a great grungy cartooning that felt half Kill Bill, half 2003 TMNT. It ended up being a real bad day for an archaeological expedition. Gore injected with humour is always a favourite of mine and this ticked all those boxes, including a wisecracking explosives expert (looking at you Gary!) If we've learnt anything from Indiana Jones and Rick O'Connell it's, don't fuck with tombs. This time was no different.
Three Robots - There's something just so fucking fantastic about robots going on holiday and speculating about 'human' stuff. It's just the perfect injection of morbid humour and I love it. The twist at the end had me laughing harder than I had any right to ?.
Ice Age - I haven't seen Topher Grace since That 70's Show so I was like 'heeeey cool'. This was the first one that wasn't soley animation so that was really cool. They find a civilization in their freezer - yes, you read that right, their freezer - and the story is awesome ?. It's a neat reflection on humans and our place in the world.
The Witness - Set in a brightly coloured city the animation here feels very Borderlands-y, which is super cool because I fricking love that game ?. There's murder, full frontal nudity, erotic dancing, and an ending that will tear your head right off. Pretty neat all in all.
Suits - Great Googamooga, this is my absolutely favourite so far, a perfectly normal looking farm, complete with adorable hick accents, discovers a breach in their fence. This isn't just any breach, this is an alien style swarm complete with Mech Warrior suits and a woman named Mel, who I'm convinced is Tank Girl as an old lady. 17 minutes of utter badassery you do not want to miss. Utterly LOVED it, and would 10/10 watch this as its own series.
When the Yogurt Took Over - Ok so the name - I was like 'should I take this seriously? Oooor' ?. Weirdly serious - yet hysterical. A five minute journey into what happened when Yogurt became sentient. You will not be disaappointed ?.
Good Hunting - With animation that reminds me of The Last Airbender, it's a story of magic, friendship, and the industrial age. A beautiful and tragic story, with horrific overtones of what greed and 'progress' can do.
The Dump - The animation this reminds me of would be sorta like, if the people at Pixar got high with Tim Burton. There was one random thing - I found Pearly's dick swing in the wind much funnier than any sane person probably would ?. A great story about man's best friend and let me tell ya, everyone needs an Otto ❤.
Shape-Shifter - There's something so deeply interesting about putting the supernatural into regular life. Two men, who are not human, in the US marines. Insanely intense story for under 15 minutes. Gorgeous CGI work too.
Helping Hand - This had a great "Gravity" feel to it, when everything goes wrong you just keep going, give a little and then a little more and you achieve the impossible. Breathtaking space visuals is just an added bonus ?.
Fish Night - Telltale style animation, depicts a story of a father and son on the road. The car breaks down and something both magical and tragic happens. The ending left me reeling ?.
Lucky 13 - The CGI in this one was so good it took me half the time to figure out that it wasn't real. Lucky 13 was to Cutter like the Normandy was to Joker. Just - the best goddamn ship ❤.
Zima Blues - Animated in a style similiar to Archer, this was an interesting piece about art and how it effects us, we search for meaning through it sometimes it's about appreciating the little things ❤.
Blindspot - 90's animation and a rad story about robots. This is my second favourite after Suits, would 10/10 watch as its own movie ?.
Alternate Histories - Did not stop laughing the entire time. Utter gold. I will recommend one thing - pause it at the blue screen bit, you won't be disappointed ?.
The only thing I'm sad about is there wasn't more of this to watch, it was incredible ?.
Beyond the Aquila Rift - CGI was beautiful from the moment it started, I was like 'shiiiit this series is going to be everything I love'. This one is about a crew making a delivery in space, however nothing quite goes to plan. For me, it had a very 'Mass Effect' feel with the FTL travel. I was not expecting a full out sex scene in the first 6 minutes but then again the episodes are on average only 16 minutes long. It was rauncy yet somehow, still quite tasteful, but as with most animated stuff there was an excessive amount of topless boob shots. I won't spoil it, but it ended up as a horrific mind fuck that left a shiver down my spine ?.
Secret War - Again, CGI was epic and the story was the perfect mix of unsettling, gory, and tragic. It follows a platoon of Red Army soldiers who are hunting down mysterious 'monsters'. There's blood, there's guts, a guy has an arm off at one point - what more could you ask for?
Sonnie's Edge - Immediately feels hellishly grunge and rave. I absolutely adored the blacklight effects and a strong female styling, the fight is gorgeous, the monsters have almost a Kaju feel which really made me happy as I love Pacific Rim. Of course this epicness is immediately ruined by a sloppy scene (I won't spoil it) which cemented the fact in my mind this was written by a man (I checked later and found I was correct), it does save itself with a fantastic twist at the end though so it was still an amazing short.
Sucker of Souls - This had a great grungy cartooning that felt half Kill Bill, half 2003 TMNT. It ended up being a real bad day for an archaeological expedition. Gore injected with humour is always a favourite of mine and this ticked all those boxes, including a wisecracking explosives expert (looking at you Gary!) If we've learnt anything from Indiana Jones and Rick O'Connell it's, don't fuck with tombs. This time was no different.
Three Robots - There's something just so fucking fantastic about robots going on holiday and speculating about 'human' stuff. It's just the perfect injection of morbid humour and I love it. The twist at the end had me laughing harder than I had any right to ?.
Ice Age - I haven't seen Topher Grace since That 70's Show so I was like 'heeeey cool'. This was the first one that wasn't soley animation so that was really cool. They find a civilization in their freezer - yes, you read that right, their freezer - and the story is awesome ?. It's a neat reflection on humans and our place in the world.
The Witness - Set in a brightly coloured city the animation here feels very Borderlands-y, which is super cool because I fricking love that game ?. There's murder, full frontal nudity, erotic dancing, and an ending that will tear your head right off. Pretty neat all in all.
Suits - Great Googamooga, this is my absolutely favourite so far, a perfectly normal looking farm, complete with adorable hick accents, discovers a breach in their fence. This isn't just any breach, this is an alien style swarm complete with Mech Warrior suits and a woman named Mel, who I'm convinced is Tank Girl as an old lady. 17 minutes of utter badassery you do not want to miss. Utterly LOVED it, and would 10/10 watch this as its own series.
When the Yogurt Took Over - Ok so the name - I was like 'should I take this seriously? Oooor' ?. Weirdly serious - yet hysterical. A five minute journey into what happened when Yogurt became sentient. You will not be disaappointed ?.
Good Hunting - With animation that reminds me of The Last Airbender, it's a story of magic, friendship, and the industrial age. A beautiful and tragic story, with horrific overtones of what greed and 'progress' can do.
The Dump - The animation this reminds me of would be sorta like, if the people at Pixar got high with Tim Burton. There was one random thing - I found Pearly's dick swing in the wind much funnier than any sane person probably would ?. A great story about man's best friend and let me tell ya, everyone needs an Otto ❤.
Shape-Shifter - There's something so deeply interesting about putting the supernatural into regular life. Two men, who are not human, in the US marines. Insanely intense story for under 15 minutes. Gorgeous CGI work too.
Helping Hand - This had a great "Gravity" feel to it, when everything goes wrong you just keep going, give a little and then a little more and you achieve the impossible. Breathtaking space visuals is just an added bonus ?.
Fish Night - Telltale style animation, depicts a story of a father and son on the road. The car breaks down and something both magical and tragic happens. The ending left me reeling ?.
Lucky 13 - The CGI in this one was so good it took me half the time to figure out that it wasn't real. Lucky 13 was to Cutter like the Normandy was to Joker. Just - the best goddamn ship ❤.
Zima Blues - Animated in a style similiar to Archer, this was an interesting piece about art and how it effects us, we search for meaning through it sometimes it's about appreciating the little things ❤.
Blindspot - 90's animation and a rad story about robots. This is my second favourite after Suits, would 10/10 watch as its own movie ?.
Alternate Histories - Did not stop laughing the entire time. Utter gold. I will recommend one thing - pause it at the blue screen bit, you won't be disappointed ?.
The only thing I'm sad about is there wasn't more of this to watch, it was incredible ?.
Chris Sawin (602 KP) rated Venom: Let There Be Carnage (2021) in Movies
Dec 14, 2021
Tom Hardy's performance. (2 more)
Better CGI than the first film.
The film is stupidly fun.
It is REALLY dumb. (2 more)
Shriek is a wasted character.
Woody Harrelson's "hair."
Idiotic Gold
Venom was an unlikely hit for Sony Pictures making over $850 million worldwide – despite being a sloppy mess of a film.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.