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Maddi Zoe (6 KP) rated The Greatest Showman (2017) in Movies
Feb 8, 2018
Soundtrack (phenomenal) (3 more)
Casting/Acting
Choreography
Cinematography
Best original musical in recent days
Michael Gracey’s slick new musical, The Greatest Showman, brings to life the imagination of P.T. Barnum and his creation of the first circus.
Inspired by the legend of P.T. Barnum (Hugh Jackman), The Greatest Showman follows Barnum in a pursuit to piece together a dream-like show.
The film follows the businessman as he desperately tries to support his wife (Michelle Williams), and daughters. However, the urge to make the shower better and better ultimately gets in the way of both his personal and family life.
Barnum knows exactly what he is looking for. He scouts several individuals who he believes are perfect for the show. Each and everyone of them, a spark or magic that completes the circus. His show includes; bearded lady, Lettie (Keala Settle), and ‘the shortest man in the world’, Tom Thumb (Sam Humphrey). Also, a partner in need (or to help his succeed)Phillip Carlyle (Zac Efron).
The performers are part of a close family and stick together despite being ridiculed by the public. They are frequently humiliated and often labelled as 'freaks'. This brings a lot of emotion to the film. It encourages a lot of positivity in that it helps promote individuality and equality.
As a musical, The Greatest Showman comes packed with musical numbers. It features a number of brilliant vocal performers including the likes of Jackman, Settle, Efron and Zendaya (who plays a trapeze artist and pretty much most of the cast). The songs themselves are very moving, through joy or sadness. Many of the songs will also have your feet tapping to the beat! At points, you'll find yourself wanting to join in with the group!
Music is a powerful instrument which can often be emotive. The composers Benj Pasek and Justin Paul, who also worked on the music for La La Land, and Trolls, hit the mark. The songs were outstanding and often bought a tear to the eye.
From the beautiful ballroom-esque dances of Jackman and Williams to the group dances by the circus family, the film was not short of magical moments. The camera angles were also spot on - from the beautifully shot symmetrical aerial shots to the moving steady cam shots.
Already nominated for three Golden Globes, The Greatest Showman is sure to be a hit with everyone. It is almost certain that it'll leave you feeling emotionally drained. On the more positive side, it may even inspire people to spread a little Christmas joy and happiness!
Inspired by the legend of P.T. Barnum (Hugh Jackman), The Greatest Showman follows Barnum in a pursuit to piece together a dream-like show.
The film follows the businessman as he desperately tries to support his wife (Michelle Williams), and daughters. However, the urge to make the shower better and better ultimately gets in the way of both his personal and family life.
Barnum knows exactly what he is looking for. He scouts several individuals who he believes are perfect for the show. Each and everyone of them, a spark or magic that completes the circus. His show includes; bearded lady, Lettie (Keala Settle), and ‘the shortest man in the world’, Tom Thumb (Sam Humphrey). Also, a partner in need (or to help his succeed)Phillip Carlyle (Zac Efron).
The performers are part of a close family and stick together despite being ridiculed by the public. They are frequently humiliated and often labelled as 'freaks'. This brings a lot of emotion to the film. It encourages a lot of positivity in that it helps promote individuality and equality.
As a musical, The Greatest Showman comes packed with musical numbers. It features a number of brilliant vocal performers including the likes of Jackman, Settle, Efron and Zendaya (who plays a trapeze artist and pretty much most of the cast). The songs themselves are very moving, through joy or sadness. Many of the songs will also have your feet tapping to the beat! At points, you'll find yourself wanting to join in with the group!
Music is a powerful instrument which can often be emotive. The composers Benj Pasek and Justin Paul, who also worked on the music for La La Land, and Trolls, hit the mark. The songs were outstanding and often bought a tear to the eye.
From the beautiful ballroom-esque dances of Jackman and Williams to the group dances by the circus family, the film was not short of magical moments. The camera angles were also spot on - from the beautifully shot symmetrical aerial shots to the moving steady cam shots.
Already nominated for three Golden Globes, The Greatest Showman is sure to be a hit with everyone. It is almost certain that it'll leave you feeling emotionally drained. On the more positive side, it may even inspire people to spread a little Christmas joy and happiness!
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Movie Metropolis (309 KP) rated Venom (2018) in Movies
Jun 10, 2019
Do you like time travel
“It feels like a movie born from a different era.” That is the thought that immediately flooded my brain upon leaving the cinema after watching Venom. Now, that’s not necessarily a bad thing of course. Hundreds of amazing films have been born well before superhero films became the successful genre they are today.
Nevertheless, in Venom’s case, what we have is a film that struggles to create a consistent tone throughout its rather succinct running time. But is the film still a success for Sony?
Journalist Eddie Brock (Tom Hardy) is trying to take down Carlton Drake (Riz Ahmed), the notorious and brilliant founder of the Life Foundation. While investigating one of Drake’s experiments, Eddie’s body merges with the alien Venom – leaving him with superhuman strength and power. Twisted, dark and fuelled by rage, Venom tries to control the new and dangerous abilities that Eddie finds so intoxicating.
Director of the absolutely brilliant, Zombieland and its upcoming sequel, Ruben Fleischer seems like the perfect choice to helm a solo movie for Peter Parker’s arch nemesis, but the result is muddled – speckled with excellent moments that are lowered by frequently jarring editing techniques and a brawl for identity. Whether that’s down to studio interference or just a misunderstanding of the source material is up for debate.
Let’s start with the best bit: the cast. Venom’s cast is of such a high quality, it really needs reeling off to be believed. We’ve got Tom Hardy, Michelle Williams and Riz Ahmed all in lead parts. Hardy is his ever-charming self in a role that is vastly different from his portrayal of Bane in The Dark Knight Rises. His ‘bromance’ with Venom is by far the standout of the entire film with witty dialogue and amusing physical comedy. In particular, one scene set in an lobster restaurant had the audience in stitches.
Unfortunately, Michelle Williams, one of our most talented actresses is wasted in a thankless role as Brock’s girlfriend, Annie. She’s supposed to be a lawyer, but apart from a few lines of dialogue explaining that fact, she’s completely by-the-numbers WAG. Riz Ahmed suffers a similar fate. His Carlton Drake is so pantomime villain-esque, you half expect him to start twirling a moustache.
Then there’s the film itself. The special effects rarely rise above adequate and the cartoonish CGI used to create Venom himself is frankly, quite poor. You’re never under the illusion that the symbiote could be real, it just looks far too machine generated. With a budget of $100million, this is wholly unacceptable. It’s also noisy and pretty ugly to look at, constantly murky with a muddy colour palate that tries desperately to be edgy and cool – it fails.
Venom feels totally and unequivocally outdated and from a different age
The plot is typical origins story which is to be expected, but there’s very little to thrill or surprise and the first hour is poorly paced. It’s not until we see Venom in his full form that things get out of the gate and Venom finds its footing.
Part buddy-comedy, part superhero flick and part body horror, Venom struggles to maintain a consistent identity. Much like the titular antihero, the film feels like a parasite, latching onto different genres until it finally finds one that fits its needs.
This is a real shame as there are moments of brilliance here. The dialogue between Venom and Brock is great and while the story isn’t anything out of the ordinary, an origins plot for an antihero rather than a traditional superhero is an inspired choice. The lack of Tom Holland’s Peter Parker really doesn’t matter too much, though I can’t help but be disappointed that these two may never meet on film.
Finally, the bizarre decision to aim for a PG-13 rating in the US has inexplicably landed it with a 15 certification here in the UK. 15 rating superhero films include Deadpool and its sequel, Logan and Watchmen. If you’re hoping for gore to the standard of those, you’ll be very dissatisfied. Despite all his head-chomping glory, Venom doesn’t even have a hint of the red stuff.
In the end, despite its best efforts, Venom just comes out very ‘meh’. In a world populated by standout superhero movies like Captain America: Civil War, Spider-Man: Homecoming and Thor: Ragnarok, Venom feels totally and unequivocally outdated and from a different age. Thankfully, it’s not Catwoman levels of bad, maybe X-Men: The Last Stand levels of average.
https://moviemetropolis.net/2018/10/04/venom-review-do-you-like-time-travel/
Nevertheless, in Venom’s case, what we have is a film that struggles to create a consistent tone throughout its rather succinct running time. But is the film still a success for Sony?
Journalist Eddie Brock (Tom Hardy) is trying to take down Carlton Drake (Riz Ahmed), the notorious and brilliant founder of the Life Foundation. While investigating one of Drake’s experiments, Eddie’s body merges with the alien Venom – leaving him with superhuman strength and power. Twisted, dark and fuelled by rage, Venom tries to control the new and dangerous abilities that Eddie finds so intoxicating.
Director of the absolutely brilliant, Zombieland and its upcoming sequel, Ruben Fleischer seems like the perfect choice to helm a solo movie for Peter Parker’s arch nemesis, but the result is muddled – speckled with excellent moments that are lowered by frequently jarring editing techniques and a brawl for identity. Whether that’s down to studio interference or just a misunderstanding of the source material is up for debate.
Let’s start with the best bit: the cast. Venom’s cast is of such a high quality, it really needs reeling off to be believed. We’ve got Tom Hardy, Michelle Williams and Riz Ahmed all in lead parts. Hardy is his ever-charming self in a role that is vastly different from his portrayal of Bane in The Dark Knight Rises. His ‘bromance’ with Venom is by far the standout of the entire film with witty dialogue and amusing physical comedy. In particular, one scene set in an lobster restaurant had the audience in stitches.
Unfortunately, Michelle Williams, one of our most talented actresses is wasted in a thankless role as Brock’s girlfriend, Annie. She’s supposed to be a lawyer, but apart from a few lines of dialogue explaining that fact, she’s completely by-the-numbers WAG. Riz Ahmed suffers a similar fate. His Carlton Drake is so pantomime villain-esque, you half expect him to start twirling a moustache.
Then there’s the film itself. The special effects rarely rise above adequate and the cartoonish CGI used to create Venom himself is frankly, quite poor. You’re never under the illusion that the symbiote could be real, it just looks far too machine generated. With a budget of $100million, this is wholly unacceptable. It’s also noisy and pretty ugly to look at, constantly murky with a muddy colour palate that tries desperately to be edgy and cool – it fails.
Venom feels totally and unequivocally outdated and from a different age
The plot is typical origins story which is to be expected, but there’s very little to thrill or surprise and the first hour is poorly paced. It’s not until we see Venom in his full form that things get out of the gate and Venom finds its footing.
Part buddy-comedy, part superhero flick and part body horror, Venom struggles to maintain a consistent identity. Much like the titular antihero, the film feels like a parasite, latching onto different genres until it finally finds one that fits its needs.
This is a real shame as there are moments of brilliance here. The dialogue between Venom and Brock is great and while the story isn’t anything out of the ordinary, an origins plot for an antihero rather than a traditional superhero is an inspired choice. The lack of Tom Holland’s Peter Parker really doesn’t matter too much, though I can’t help but be disappointed that these two may never meet on film.
Finally, the bizarre decision to aim for a PG-13 rating in the US has inexplicably landed it with a 15 certification here in the UK. 15 rating superhero films include Deadpool and its sequel, Logan and Watchmen. If you’re hoping for gore to the standard of those, you’ll be very dissatisfied. Despite all his head-chomping glory, Venom doesn’t even have a hint of the red stuff.
In the end, despite its best efforts, Venom just comes out very ‘meh’. In a world populated by standout superhero movies like Captain America: Civil War, Spider-Man: Homecoming and Thor: Ragnarok, Venom feels totally and unequivocally outdated and from a different age. Thankfully, it’s not Catwoman levels of bad, maybe X-Men: The Last Stand levels of average.
https://moviemetropolis.net/2018/10/04/venom-review-do-you-like-time-travel/
Lee (2222 KP) rated Venom (2018) in Movies
Oct 5, 2018 (Updated Oct 16, 2018)
A bit rough around the edges, but pretty enjoyable overall
Contains spoilers, click to show
The run up to seeing Venom has followed what seems to be a bit of a growing trend for me recently - tickets go on sale for a movie that I'm very excited to see and despite the slightly average trailers, I grab a ticket and hope for the best. Then in the days beforehand, a load of negative reviews appear online and I really hope that they're all wrong, like they all were with Hereditary. Recently we've had The Nun, then The Predator, and now Venom. I was really hoping this wasn't going to be three in a row!
A space probe is returning to Earth. We hear the astronauts communicating with a team back home. They're talking about some 'specimens' that they're bringing back, and then something goes wrong onboard and the rocket crashes to Earth, landing somewhere in Malaysia. The probe belongs to bio-engineering company Life Foundation, and the specimens they're carrying are symbiotic lifeforms. Life Foundation are all over the crash site, with only one of the astronauts surviving, barely. Meanwhile, CEO Carlton Drake (Riz Ahmed) is very excited by the symbiotes and returns them to the lab, becoming obsessed with assimilating them into animals. Obviously he has plans to eventually (as quickly as possible) try this out on humans. Apparently, it's all for the good of the planet or some guff like that.
Meanwhile, we're introduced to investigative journalist Eddie Brock (Tom Hardy) and his girlfriend Anne (Michelle Williams). He's basically the most unconvincing journalist I've ever seen in a movie, but the montage of clips seems determined to tell us otherwise. He has his own TV show! It's great! He's helped to uncover injustice, righted wrongs, and is apparently a nice down to earth guy. When he secures an interview with Carlton Drake from Life Foundation, he's ready to uncover some dirt, but his boss warns him not to overstep the mark. Of course, he doesn't listen, stepping over the line and getting himself fired. He also manages to lose girlfriend Anne in the process.
The next chunk of the movie is just Tom Hardy moping around, and it's not that great. I don't know if it's the script, the acting, or both. It's interspersed occasionally with scenes involving Carlton Drake looking to expose the symbiotes to human subjects - the homeless, the poor or the just plain stupid - and you start wishing they'd just hurry up and bring Venom and Eddie together, in the hopes that things will pick up a bit. Luckily, once that does happen things do pick up considerably and Tom Hardy is so much better suited as the crazy man who's feeling a little bit unwell than the sad, boring journalist. There's a good level of humour from that point on too, along with some fairly decent action.
Unfortunately though, Venom suffers from some of the same dreadful editing that The Predator did. Scenes that seem to just prematurely end suddenly and successions of rapid cuts during some of the action, making it difficult to see just what the hell is going on. Overall it's a bit rough around the edges, and definitely not as slick as your standard Marvel movie (this one is just 'in association with Marvel'). That being said, this was in no way the car crash movie that many of the reviews had lead me to believe, and on the whole I actually really enjoyed it.
A decent mid credits scene sets up some exciting potential for a further movie, but I feel they really need to tighten things up a bit in order to make another one worth seeing.
A space probe is returning to Earth. We hear the astronauts communicating with a team back home. They're talking about some 'specimens' that they're bringing back, and then something goes wrong onboard and the rocket crashes to Earth, landing somewhere in Malaysia. The probe belongs to bio-engineering company Life Foundation, and the specimens they're carrying are symbiotic lifeforms. Life Foundation are all over the crash site, with only one of the astronauts surviving, barely. Meanwhile, CEO Carlton Drake (Riz Ahmed) is very excited by the symbiotes and returns them to the lab, becoming obsessed with assimilating them into animals. Obviously he has plans to eventually (as quickly as possible) try this out on humans. Apparently, it's all for the good of the planet or some guff like that.
Meanwhile, we're introduced to investigative journalist Eddie Brock (Tom Hardy) and his girlfriend Anne (Michelle Williams). He's basically the most unconvincing journalist I've ever seen in a movie, but the montage of clips seems determined to tell us otherwise. He has his own TV show! It's great! He's helped to uncover injustice, righted wrongs, and is apparently a nice down to earth guy. When he secures an interview with Carlton Drake from Life Foundation, he's ready to uncover some dirt, but his boss warns him not to overstep the mark. Of course, he doesn't listen, stepping over the line and getting himself fired. He also manages to lose girlfriend Anne in the process.
The next chunk of the movie is just Tom Hardy moping around, and it's not that great. I don't know if it's the script, the acting, or both. It's interspersed occasionally with scenes involving Carlton Drake looking to expose the symbiotes to human subjects - the homeless, the poor or the just plain stupid - and you start wishing they'd just hurry up and bring Venom and Eddie together, in the hopes that things will pick up a bit. Luckily, once that does happen things do pick up considerably and Tom Hardy is so much better suited as the crazy man who's feeling a little bit unwell than the sad, boring journalist. There's a good level of humour from that point on too, along with some fairly decent action.
Unfortunately though, Venom suffers from some of the same dreadful editing that The Predator did. Scenes that seem to just prematurely end suddenly and successions of rapid cuts during some of the action, making it difficult to see just what the hell is going on. Overall it's a bit rough around the edges, and definitely not as slick as your standard Marvel movie (this one is just 'in association with Marvel'). That being said, this was in no way the car crash movie that many of the reviews had lead me to believe, and on the whole I actually really enjoyed it.
A decent mid credits scene sets up some exciting potential for a further movie, but I feel they really need to tighten things up a bit in order to make another one worth seeing.
Sarah (7798 KP) rated Saving Private Ryan (1998) in Movies
Feb 9, 2021
A classic
Film #14 on the 100 Movies Bucket List: Saving Private Ryan
When I think of war films, I immediately think of Saving Private Ryan. This is partly because I shamefully haven’t seen the majority of the older classic war films (but I may have done by the time I reach the end of this list), and also because this is the first war film I ever saw. I have my dad to thank for introducing me to this, he was obsessed with anything war related, and while I would never admit this to him as a teenager, even back then I could appreciate how brilliant this film was.
Saving Private Ryan is a 1998 World War II epic from Steven Spielberg that follows a group of soldiers as they embark on a mission across France to rescue a man who’s 3 brothers have been killed in action. It stars Tom Hanks as Captain Miller as he leads a host of recognisable faces including Vin Diesel (Caparzo), Barry Pepper (Jackson), Tom Sizemore (Horvath), Giovanni Ribisi (Wade), Edward Burns (Reiben) and Jeremy Davies as Upham as they trek across country to find Matt Damon’s Private Ryan.
The main plot is definitely very Hollywood, but the film itself looks and feels like anything but a glamorous Hollywood blockbuster. This is by far the grittiest, darkest and most horrific war film I’ve seen to date. Spielberg does not shy away from displaying the true horror of war, from the blood and gore of the fighting to the physical and psychological effects it had on the soldiers , it’s all here in all of its horrifying glory. One of the most memorable scenes of any war film is the opening sequence of the D-Day landings, that shows a haunting and frightfully bloody side of the war that no other films have managed to capture in such a dark and emotionally draining manner. Even the opening scene in Arlington Cemetery, especially when paired with a moving score from John Williams, is a tearjerker only a few minutes into the 2.5 hour runtime. I don’t know how factually realistic this whole film is, but it’s definitely one of the most compellingly believable films I’ve ever seen, especially the death scenes.
Visually the cinematography helps with the dark and gritty feeling. Everything looks grey and drab, even hazy at times, and this only helps to promote the overall tone of the film. Admittedly there are parts of this now that do look a little dated and there are a few early scenes with a strange out of place camera flare, but considering it was released 23 years ago, it’s aged pretty well and still looks quite good. It’s helped by a truly stellar cast lead by the ever brilliant Tom Hanks, who’s turn as Captain Miller is hauntingly good. The fact that he didn’t win the Oscar for his performance is criminal. Him alongside the rest of the cast, including memorably brash Brooklynite Reiben (Burns) and God-fearing elite sniper Jackson (Pepper), completely embody the camaraderie, friendship and sometimes hostility shown by the group of men perfectly. My only slight criticism of this film is that after growing to know and like these men over the course of the film, there is a question mark over some of their fates at the end which is a tiny bit disappointing.
Saving Private Ryan won 5 Oscars, including Best Director and Best Cinematography, but was nominated for many others including Best Picture, which in my opinion it deserved far more than the film that won in 1999 (Shakespeare in Love), as this is undoubtedly an all time classic war film.
When I think of war films, I immediately think of Saving Private Ryan. This is partly because I shamefully haven’t seen the majority of the older classic war films (but I may have done by the time I reach the end of this list), and also because this is the first war film I ever saw. I have my dad to thank for introducing me to this, he was obsessed with anything war related, and while I would never admit this to him as a teenager, even back then I could appreciate how brilliant this film was.
Saving Private Ryan is a 1998 World War II epic from Steven Spielberg that follows a group of soldiers as they embark on a mission across France to rescue a man who’s 3 brothers have been killed in action. It stars Tom Hanks as Captain Miller as he leads a host of recognisable faces including Vin Diesel (Caparzo), Barry Pepper (Jackson), Tom Sizemore (Horvath), Giovanni Ribisi (Wade), Edward Burns (Reiben) and Jeremy Davies as Upham as they trek across country to find Matt Damon’s Private Ryan.
The main plot is definitely very Hollywood, but the film itself looks and feels like anything but a glamorous Hollywood blockbuster. This is by far the grittiest, darkest and most horrific war film I’ve seen to date. Spielberg does not shy away from displaying the true horror of war, from the blood and gore of the fighting to the physical and psychological effects it had on the soldiers , it’s all here in all of its horrifying glory. One of the most memorable scenes of any war film is the opening sequence of the D-Day landings, that shows a haunting and frightfully bloody side of the war that no other films have managed to capture in such a dark and emotionally draining manner. Even the opening scene in Arlington Cemetery, especially when paired with a moving score from John Williams, is a tearjerker only a few minutes into the 2.5 hour runtime. I don’t know how factually realistic this whole film is, but it’s definitely one of the most compellingly believable films I’ve ever seen, especially the death scenes.
Visually the cinematography helps with the dark and gritty feeling. Everything looks grey and drab, even hazy at times, and this only helps to promote the overall tone of the film. Admittedly there are parts of this now that do look a little dated and there are a few early scenes with a strange out of place camera flare, but considering it was released 23 years ago, it’s aged pretty well and still looks quite good. It’s helped by a truly stellar cast lead by the ever brilliant Tom Hanks, who’s turn as Captain Miller is hauntingly good. The fact that he didn’t win the Oscar for his performance is criminal. Him alongside the rest of the cast, including memorably brash Brooklynite Reiben (Burns) and God-fearing elite sniper Jackson (Pepper), completely embody the camaraderie, friendship and sometimes hostility shown by the group of men perfectly. My only slight criticism of this film is that after growing to know and like these men over the course of the film, there is a question mark over some of their fates at the end which is a tiny bit disappointing.
Saving Private Ryan won 5 Oscars, including Best Director and Best Cinematography, but was nominated for many others including Best Picture, which in my opinion it deserved far more than the film that won in 1999 (Shakespeare in Love), as this is undoubtedly an all time classic war film.
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Bob Mann (459 KP) rated Venom (2018) in Movies
Sep 28, 2021
A film that leaves you in two minds.
After all the terrible reviews of this movie (“The Times” reviewer described it as “excreble” which is harsh indeed) I was steeling myself to reach for my 1* rating. I was happy to find that it wasn’t quite as bad as I was expecting it to be. Indeed parts of it were positively good fun.
The plot
Tom Hardy plays Eddie Brock, a San Franciscan investigative reporter who is engaged to hot-shot lawyer Anne Weying (Michelle WIlliams). Brock is a bit of a maverick and always tends to push things a bit far, both at work and at home. Brock targets for his latest investigation Carlton Drake (Riz Ahmed): a billionaire space pioneer (I hope the producers got WELL lawyered up!) Drake is a Bond-style megalomaniac who is intend on saving mankind by merging humans with aliens to create a symbiotic organism. Not wishing to go through all the nampy-pamby clinical trials stuff, he is doing live research on vagrants and others who “won’t be missed”… with generally negative results. Infected accidently with the symbiont called Venom Brock’s future hangs in the balance: the meld will either kill him or else a new superhero will be born. (No guessing which!)
Review
For anyone with one foot already in the Spiderverse, Eddie Brock and his alter-ego Venom have appeared before, in the convoluted and pretty poor Tobey Maguire sequel “Spider-Man 3”. In that film Eddie (played by Topher Grace) was the boyfriend of Gwen Stacey (then played by Bryce Dallas-Howard) who was similarly infected by an alien symbiote and was transformed into Venom.
This new Venom incarnation is a Sony Pictures production “with” Marvel Studios, and although featuring a Stan Lee cameo it never quite feels like a Marvel picture. Posher critics have described it as “tonally inconsistent”…. which is posh-critic language for “it’s fecking all over the place”! And they are right. It veers suddenly from high drama and sci-fi action to plodding dialogue and Deadpool-style wisecracks with clutch-smoking rapidity. As such, the film never feels like it’s decided whether it wants to be at the po-faced Captain America end of the Marvel specturn or at the wise-cracking Deadpool/GotG end.
The Turns
Tom Hardy actually gets to spend a lot of this film without a mask over his face, which is certainly a novelty! And he gives it his all acting wise which will please his army of fans. But his pairing with the Oscar-winning Michelle Williams never feels comfortable: there seems little chemistry between the pair given that they are an “item”. None of this is helped by the grindingly turgid script which gives the pair, plus Reid Scott (“Dan” from “Veep”) as the third corner in the love triangle, some truly dire dialogue to spout at each other.
An act I did like in the film was Riz Ahmed as the “really bad guy” Drake. I found Ahmed extremely annoying in “Rogue One”, but here he slides into the smarmy evil role perfectly. A better script, like a future Bond film, would have benefitted from the turn!
Woody Harrelson also turns up in a mid-credit “monkey” as the supervillain Cletus Kasady, which meant nothing to me but certainly does to comic-book fans. (By the way, there is no “monkey” at the end of the film, but there is a 6 minute clip from the upcoming “Into the Spider Verse” cartoon feature tacked onto the end – at least of this Cineworld showing – which may or may not interest you).
A technical shout-out should go to Swedish composer Ludwig Göransson (who’s previously done “Black Panther” and “Creed”): an unusual soundtrack with odd electronica, eerie electric-guitar riffs for Eddie’s theme interspersed with exciting fast-paced action beats.
Final Thoughts
I must admit that from starting with a cynical “don’t want to know” approach to the Marvel Universe, the damn thing is slowly wearing me down into being kind of intrigued with what they are going to do next. This is not a classic Marvel flick, but for me it wasn’t nearly as bad as some of the critical reviews have made it out to be. I saw this alone: and we were quite entertained.
The plot
Tom Hardy plays Eddie Brock, a San Franciscan investigative reporter who is engaged to hot-shot lawyer Anne Weying (Michelle WIlliams). Brock is a bit of a maverick and always tends to push things a bit far, both at work and at home. Brock targets for his latest investigation Carlton Drake (Riz Ahmed): a billionaire space pioneer (I hope the producers got WELL lawyered up!) Drake is a Bond-style megalomaniac who is intend on saving mankind by merging humans with aliens to create a symbiotic organism. Not wishing to go through all the nampy-pamby clinical trials stuff, he is doing live research on vagrants and others who “won’t be missed”… with generally negative results. Infected accidently with the symbiont called Venom Brock’s future hangs in the balance: the meld will either kill him or else a new superhero will be born. (No guessing which!)
Review
For anyone with one foot already in the Spiderverse, Eddie Brock and his alter-ego Venom have appeared before, in the convoluted and pretty poor Tobey Maguire sequel “Spider-Man 3”. In that film Eddie (played by Topher Grace) was the boyfriend of Gwen Stacey (then played by Bryce Dallas-Howard) who was similarly infected by an alien symbiote and was transformed into Venom.
This new Venom incarnation is a Sony Pictures production “with” Marvel Studios, and although featuring a Stan Lee cameo it never quite feels like a Marvel picture. Posher critics have described it as “tonally inconsistent”…. which is posh-critic language for “it’s fecking all over the place”! And they are right. It veers suddenly from high drama and sci-fi action to plodding dialogue and Deadpool-style wisecracks with clutch-smoking rapidity. As such, the film never feels like it’s decided whether it wants to be at the po-faced Captain America end of the Marvel specturn or at the wise-cracking Deadpool/GotG end.
The Turns
Tom Hardy actually gets to spend a lot of this film without a mask over his face, which is certainly a novelty! And he gives it his all acting wise which will please his army of fans. But his pairing with the Oscar-winning Michelle Williams never feels comfortable: there seems little chemistry between the pair given that they are an “item”. None of this is helped by the grindingly turgid script which gives the pair, plus Reid Scott (“Dan” from “Veep”) as the third corner in the love triangle, some truly dire dialogue to spout at each other.
An act I did like in the film was Riz Ahmed as the “really bad guy” Drake. I found Ahmed extremely annoying in “Rogue One”, but here he slides into the smarmy evil role perfectly. A better script, like a future Bond film, would have benefitted from the turn!
Woody Harrelson also turns up in a mid-credit “monkey” as the supervillain Cletus Kasady, which meant nothing to me but certainly does to comic-book fans. (By the way, there is no “monkey” at the end of the film, but there is a 6 minute clip from the upcoming “Into the Spider Verse” cartoon feature tacked onto the end – at least of this Cineworld showing – which may or may not interest you).
A technical shout-out should go to Swedish composer Ludwig Göransson (who’s previously done “Black Panther” and “Creed”): an unusual soundtrack with odd electronica, eerie electric-guitar riffs for Eddie’s theme interspersed with exciting fast-paced action beats.
Final Thoughts
I must admit that from starting with a cynical “don’t want to know” approach to the Marvel Universe, the damn thing is slowly wearing me down into being kind of intrigued with what they are going to do next. This is not a classic Marvel flick, but for me it wasn’t nearly as bad as some of the critical reviews have made it out to be. I saw this alone: and we were quite entertained.