Search
Search results
LeftSideCut (3776 KP) rated Meet the Fockers (2004) in Movies
Mar 9, 2022
Meet the Fockers is a less subtle, and far more slapstick affair than the first film, and it's just not as tight. It's comedy relies a little too much on callbacks to Meet the Parents and a lot of the characters are extremely cartoon-y, however, and perhaps most importantly, it's still a good time.
Barbara Streisand and Dustin Hoffman are welcome additions as the Focker parents, and their liberal lifestyle works at odds with Jack Byrne's uptight nature. It provides the bulk of the funny moments this time around.
The plot is essentially the same as the first film, just set in Miami, and as such follows a predictable beat, but it's a safe one that provides an easy watch, backed by some reliably pleasant Randy Newman music.
An inferior sequel then, but one that serves its purpose. An easy re-watch option for when you've been scrolling through Netflix for far too long.
Barbara Streisand and Dustin Hoffman are welcome additions as the Focker parents, and their liberal lifestyle works at odds with Jack Byrne's uptight nature. It provides the bulk of the funny moments this time around.
The plot is essentially the same as the first film, just set in Miami, and as such follows a predictable beat, but it's a safe one that provides an easy watch, backed by some reliably pleasant Randy Newman music.
An inferior sequel then, but one that serves its purpose. An easy re-watch option for when you've been scrolling through Netflix for far too long.
BeardyJim (611 KP) rated the PlayStation 4 version of Hellblade: Senua's Sacrifice in Video Games
Nov 2, 2021 (Updated Nov 2, 2021)
Looks amazing (4 more)
Compelling story
Original death mechanic
Gives a psychological insight into how you played the game at the end
Loading screens completely hidden by cutscenes
A stunning insight into your own psyche
One of my favourite games of recent years, Senua's Sacrifice is a thought provoking insight into your own psyche, while at the same time being a beautiful story about love, death and loss.
The game looks amazing, and there aren't any loading screens, as they're cleverly hidden by cutscenes.
The game has an interesting death mechanic, whereby if Senua dies, an infection gets worse in her arm, spreading all over her body. If you die so often that the infection takes over, your save game is deleted. Harsh, right?
Despite this, the gameplay is beautifully done, and the story really gets your attention throughout.
If you haven't picked this up yet, I urge you to do so, before the sequel comes out.
The game looks amazing, and there aren't any loading screens, as they're cleverly hidden by cutscenes.
The game has an interesting death mechanic, whereby if Senua dies, an infection gets worse in her arm, spreading all over her body. If you die so often that the infection takes over, your save game is deleted. Harsh, right?
Despite this, the gameplay is beautifully done, and the story really gets your attention throughout.
If you haven't picked this up yet, I urge you to do so, before the sequel comes out.
Blazing Minds (92 KP) rated Maleficent: Mistress of Evil (2019) in Movies
Nov 1, 2021 (Updated Nov 3, 2021)
Maleficent (Jolie) and her goddaughter Aurora (Fanning) begin to question the complex family ties that bind them as they are pulled in different directions by impending nuptials, unexpected allies, and dark new forces at play.
Most of the cast has returned for the sequel, with exception of the role of Prince Philip whos is now being played by Harris Dickinson who took over the role of from Brenton Thwaites due to scheduling conflicts with Titans (2018), but this doesn’t distract you from the film, let’s face it the previous movie was five years ago!
Maleficent: Mistress of Evil is a lavish-looking movie the opening sequence itself with the camera flying through the land across the water looks stunning on the IMAX screen, which really immerses you in the feeling of being there, the set designs really bring the magical world to life as do the myriad of faes that live in the magical kingdom.
Most of the cast has returned for the sequel, with exception of the role of Prince Philip whos is now being played by Harris Dickinson who took over the role of from Brenton Thwaites due to scheduling conflicts with Titans (2018), but this doesn’t distract you from the film, let’s face it the previous movie was five years ago!
Maleficent: Mistress of Evil is a lavish-looking movie the opening sequence itself with the camera flying through the land across the water looks stunning on the IMAX screen, which really immerses you in the feeling of being there, the set designs really bring the magical world to life as do the myriad of faes that live in the magical kingdom.
Hazel (2934 KP) rated The Stand (The Spread #3) in Books
Nov 14, 2021
What another great sequel to the previous 2 in the series ... you really have to have read them in order to understand the characters and the story otherwise you will be totally lost.
Once again, we are treated to an alternative take to the usual zombie story and the impact of an "invasion" on humanity. I was gripped and itching to find out how my favourite characters will fair - remember, with Iain's books, no one is safe and just when you think things are going to work out, once again, Iain throws a giant spanner in the works and everything goes to pot.
With excellent characters, both old and new, tension, thrills and definitely spills, The Stand is a great addition to the story of The Spread and my thanks must go to Iain for accepting me into his "street team" and for providing me with a copy in return for comments and an honest, unbiased and unedited review.
Once again, we are treated to an alternative take to the usual zombie story and the impact of an "invasion" on humanity. I was gripped and itching to find out how my favourite characters will fair - remember, with Iain's books, no one is safe and just when you think things are going to work out, once again, Iain throws a giant spanner in the works and everything goes to pot.
With excellent characters, both old and new, tension, thrills and definitely spills, The Stand is a great addition to the story of The Spread and my thanks must go to Iain for accepting me into his "street team" and for providing me with a copy in return for comments and an honest, unbiased and unedited review.
Dean (6927 KP) rated Top Gun: Maverick (2022) in Movies
Jun 1, 2022
Amazing Fighter jet scenes (1 more)
Very nostalgic
You can be my wing man anytime
So after being put back a while we finally get to see the Top Gun sequel. I saw it in 4dx which really adds to the fighter jet scenes.
Plot wise it treads a very similar path to the original film, opening is almost identical. Maverick is back to train some past Top Gun graduates for a very dangerous mission. One of the team is Rooster, the son of Goose from the original.
There is plenty of nostalgic moments that are reminiscent of scenes and things from the original film. Good to see Iceman have a role as well. The biggest draw though is the fighter jet scenes. The original stood out and wasn't bettered for the air combat action. This probably improves on fighter jet scenes with a better variety of shots and view points. Top Gun is the perfect film for the big screen.
Plot wise it treads a very similar path to the original film, opening is almost identical. Maverick is back to train some past Top Gun graduates for a very dangerous mission. One of the team is Rooster, the son of Goose from the original.
There is plenty of nostalgic moments that are reminiscent of scenes and things from the original film. Good to see Iceman have a role as well. The biggest draw though is the fighter jet scenes. The original stood out and wasn't bettered for the air combat action. This probably improves on fighter jet scenes with a better variety of shots and view points. Top Gun is the perfect film for the big screen.
Liar by Nicola Lowe
8.0
Rate It
Book
Amber Carmichael splits her time between her nursing career and community spirited acts of kindness....
Paranormal Romance Demons Angels Enemies to Lovers Forbidden Romance
Dean (6927 KP) rated Texas Chainsaw Massacre (2022) in Movies
Feb 25, 2022 (Updated Feb 25, 2022)
Unlikeable characters (2 more)
Very short
A massacre of ideas
Nothing new
Thought I'd give this a go as it's been a while since the previous versions. Other than setting it in the current time with influencers and current technology, this offers nothing new. Just a bunch of unlikeable characters to the predictable slaughter.
Following on the recent Halloween films trend of making a sequel to the original set decades later. We have a cameo from the original film final girl who has gone Linda Hamilton bad ass up for revenge. With some real T2 elements in some scenes. A very weak plot line as she and leatherface must be in their 70's now as nearly 50 years have passed from the original.
Gore fans will probably like it and fans of TCM films in general, for others there is no real depth to it and full of Slasher film clichés. Shame as it had potential but ends up a bit of a mess.
Following on the recent Halloween films trend of making a sequel to the original set decades later. We have a cameo from the original film final girl who has gone Linda Hamilton bad ass up for revenge. With some real T2 elements in some scenes. A very weak plot line as she and leatherface must be in their 70's now as nearly 50 years have passed from the original.
Gore fans will probably like it and fans of TCM films in general, for others there is no real depth to it and full of Slasher film clichés. Shame as it had potential but ends up a bit of a mess.
David McK (3918 KP) rated Disclosure Day (2026) in Movies
Jul 19, 2026 (Updated Jul 19, 2026)
I think it's clear that Steven Spielberg likes his aliens.
This is, I've read, his fifth film that features them.
I can think of, top-of-my-head, "Close Encounters of the Third Kind", "E.T the extraterrestial", "Indiana Jones and the Crystal Skull" and The War of the Worlds".
Of those three, this is probably closest to Close Encounters - indeed, I'd heard it described as a stealth sequel to that movie.
While I'm not too sure about that, I do have to admit it put me in mind somewhat of some of the classic X-Files episodes from the mid to late 1990s: aliens, shadowy government agencies, conspiracies, cover-ups ...
But as the name intimates, this is all about the day(s) leading up to the existence of the ETs becoming known to the world, following - mainly - both a TV weather presenter and a worker who has stolen proof from his employers of the ongoing cover-up.
I found this well worth a watch.
This is, I've read, his fifth film that features them.
I can think of, top-of-my-head, "Close Encounters of the Third Kind", "E.T the extraterrestial", "Indiana Jones and the Crystal Skull" and The War of the Worlds".
Of those three, this is probably closest to Close Encounters - indeed, I'd heard it described as a stealth sequel to that movie.
While I'm not too sure about that, I do have to admit it put me in mind somewhat of some of the classic X-Files episodes from the mid to late 1990s: aliens, shadowy government agencies, conspiracies, cover-ups ...
But as the name intimates, this is all about the day(s) leading up to the existence of the ETs becoming known to the world, following - mainly - both a TV weather presenter and a worker who has stolen proof from his employers of the ongoing cover-up.
I found this well worth a watch.
Movie Metropolis (309 KP) rated Halloween (2018) in Movies
Jun 10, 2019
A True successor to the original
Halloween 1978 and little-known director John Carpenter terrifies thousands of impressionable horror fans with the introduction of ‘The Shape’. Jamie Lee Curtis becomes the new ‘scream queen’ and all is well in the world of the slasher genre.
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
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.