We Are Venom: Review of Venom

Venom

Director: Ruben Fleischer

By Alex Watson

Despite having one of the standout casts of 2018, Marvel fans are still waiting for a good outing for Spiderman's nemesis. Venom on paper had all the goods but sadly director Ruben Fleischer is never able to find a good blend between action and comedy. The result feels like a limp and wasted opportunity on an intriguing set up. Tom Hardy manages to salvage some pride with a decent performance, but for once he cannot be the sole saviour.

Eddie Brock (Tom Hardy) is a TV journalist who ends up losing everything including his job and fiancee Annie (Michelle Williams) after unwisely confronting crooked billionaire Carlton Drake (Riz Ahmed). To prove Drake is using homeless people as test subjects for an unknown species, he breaks into his lab to investigate. However, during his time there Eddie merges with a symbiote named Venom which will give his body a new and scarier kind of host.

The main problem with Venom comes from its rather formulaic and generic script. Starting slowly, we see Eddie's world gets turned upside down, his break up with Annie would have been more painful if there were any chemistry between the two leads. A floundering and drunken mess afterwards, he gets thrown a bone when a more sympathetic Drake employee (Jenny Slate) drops the knowledge he is killing innocent people. When he finally crosses with Venom, the result is nowhere near as entertaining as this should have been. As a character, Eddie is a rather blank slate throughout and we are never truly given a chance to understand his motivations or any kind of backstory about Brock himself. Likewise, Carlton Drake, a compelling nemesis in comic form has little impact or threat here outside of just being kind of a dick.

Studio interference has also played a role in the impact of this movie being lessened. Keen to cut this down to a PG-13 rating, the needed dark tone is disappointingly absent. Also, the movie never truly finds its rhythm and there a number of cringing moments. Eddie humiliating himself in front of Annie by jumping in a lobster tank in a restaurant is a prime example.  Given Fleischer's previous effort, Zombieland, the laugh factor should have been a shoe-in. Sadly he opts to do numerous and rather lifeless action sequences which frustrate more than they entertain. This could have another hit in the Deadpool inspired range if Fleischer chose to utilize the hilarious main duo, but there is simply not enough snappy wit to make this work.

Only in the final act does this movie become anywhere near watchable and once Eddie and new buddy begin to bond, some life comes to the movie. While an end credits sequence does provide a burst of excitement for a potential sequel, this first effort is left to rue what might have been.

Normally a movie's ace in the deck, Tom Hardy is easily the standout. Juggling between a more physical yet comedic turn, Hardy is up for the task and gives Eddie Brock a far stronger feel. As his new special friend Venom, his deep and booming voice always sends a chill down our spines. Becoming a capable actor across all cinematic forms, it will be interesting to see what Hardy can do if given the chance to return. Michelle Williams is barely used in what is an underwritten role as Eddie's lost love Annie. Always able to bring her all to even the smallest scenes, Williams has precious little to do here. Riz Ahmed is equally wasted as villain Carlton Drake and is saddled with some truly dull dialogue. An able actor in big films, this movie wastes the talents a fine talent.

Venom should have been an end of year treat for all its patient fans. Tragically, we are still waiting for a definitive outing for one of Marvel's best anti-heroes.

Money, Money, Money: Review of All The Money in the World

All the Money in the World

Director: Ridley Scott

By Alex Watson

Before it was even released, All the Money in the World was met with a storm of controversy. After the numerous sex misconduct scandals against original star Kevin Spacey- Ridley Scott chose to cut him from the final release completely. His scenes were quickly reshot for $7.5 million to make the December 22 release date. Veteran Christopher Plummer (ironically Scott's original choice) stepped in only weeks before the movie dropped. The gamble has worked tremendously and Plummer is outstanding as J.Paul Getty and his presence dominates throughout.

In Rome, 1973 teenager John Paul Getty III (Charlie Plummer) is kidnapped by a radical group. They inform the boy's mother Gail Harris (Michelle Williams) that unless a ransom is paid, he will be killed. Lacking the funds she is forced to approach her wealthy former father-in-law J.Paul Getty (Christopher Plummer). Notorious for his penny pinching, Getty refuses to part with a dime and instead sends his negotiator Fletcher Chase (Mark Wahlberg) to secure his grandson's release.

As its title suggests All the Money in the World is a movie where money talks. A real-life Ebeneezer Scrooge, Getty's miser tendencies take centre stage. A man more content checking his stock ticker tape than negotiate his own grandson's release. He even has a phone box installed his lavish home where staff give change for its usage. Getty throughout finds a way to work this horrible scenario to both his financial and personal advantage. "To be a Getty is an extraordinary thing. Its like we're from another planet," says John Paul Getty III in voiceover and this couldn't be more accurate. When he is dumped into the van and taken away, Gail is thrust into every mother's worst nightmare. Family loyalty counts for nothing in this piece and the elder Getty is willing to let his own blood suffer than part with a penny.

Scott knows when to turn up the heat in this picture. The kidnapping of John Paul provides some unbearable tension. At first, his captors think this is a slam-dunk and the money will be quickly dispensed. But when days turn into months, their impatience grows more and more frightening. John Paul is being subjected to some horrific and life-changing violence all of which will have audience members looking away (particularly during the notable ear torture scene). This movie, however, feels weakest whenever Fletcher and Gail are on screen. It feels like it is trying to draw out a dramatic and engaging story but failing due to the lack of chemistry between leads. Part of the issue is that we are never sure what precisely Fletcher is supposed to be doing? We know he is ex-CIA and doesn't carry a gun because "It ruins the lining of your suit." Other than that we just know that he makes deals with people.  Character-wise he is only skin deep and is consigned to a mediocre role in events.

The plight of Gail Harris is what makes All the Money in the World so effective. A former Getty now removed, she finds herself on the outside looking in. Forced to try and make nice with the one man she despises, Gail is trying to remain strong in the face extreme adversity. She brings a strength and courage to this picture when it is badly needed. She knows the clock is always ticking and she is always attempting to make the money appear before her son is cut into small pieces. The side story of captor with a heart Cinquanda (Romain Duris) is also effective. Wanting to get rich quick but disgusted at the increasingly vile methods his comrades use to get money, Cinquanda is only potential ally John Paul has to get out.

A last minute replacement, Christopher Plummer was the perfect gamble as J.Paul Getty. Easily winning every scene he appears in, Plummer plays the old billionaire with such an ice cold chill. Although the cliche of him preferring objects to people is overstated, the film sags whenever the veteran Canadian is not onscreen. Already nominated for numerous awards, it's hard to imagine how Spacey could have better this turn. Michelle Williams is also impressive as the desperate Gail. Forced into a corner and "fighting an empire," Williams gives an honest portrayal of a mother who wants little else than her son back. Mark Wahlberg, unfortunately, is stuck in a meaningless part and Fletcher Chase requires little acting other than looking tough.

All the Money in the World is a picture which chillingly shows how sometimes, money comes second to those we love.

My Darling, My Blood: Review of Manchester By The Sea

Manchester By The Sea

Director: Kenneth Lonergan

By Alex Watson

Very few pictures have channelled grief better than Kenneth Lonergan's Manchester By The Sea. Casey Affleck is outstanding as a man afflicted by his past and now forced to play guardian. A highly charged emotional feel is what makes this outing so memorable. Lonergan after impressing with his 2000 piece 'You Can Count On Me' once more is able to show how deep family roots go. Coping with your grief can be a crippling experience, but all throughout we hope for our hero to find his way back.

Lee Chandler (Casey Affleck) is a janitor in Boston who is unable to move on from a tragedy that has scarred him for life. One day he learns that his brother Joe (Kyle Chandler) has finally died from congestive heart failure. At his will reading, Lee learns he has been made guardian to his 16-year-old nephew Patrick (Lucas Hedges). Forced to temporarily stay in his old hometown, he must contend with the painful memory of his past, particularly when he comes into contact with ex-wife Randi (Michelle Williams).

Lonergan's excellently slips and out of the present day and the glimpses we get of Lee's previously life are profoundly affecting. Lee is a man of very few words and struggles to personable with the tenants he serves. While he is a very capable worker, his lack of empathy and constant silence have lead to complaints. He also possesses an extremely short fuse and seems to slug anyone for the slightest of reasons. When a businessman glances at him in a bar, hell soon breaks loose. The happier times of old are a faint memory and Lee is shown to have been a happy man back in his old days. Scenes of him playing with Patrick on Joe's fishing boat radiate joy. When his brother was diagnosed with heart failure, this more than likely lead to Joe's ex-wife Elise (Gretchen Mol) becoming an alcoholic and abandoning them. Though a loving and playful family man, the heartbreaking tragedy that meets him fully explains his descent into solitude. One unfortunate error leads to something no parent should ever have to deal with. The scars of this event hang on Lee's face throughout and Lonergan does a wonderful job of showing his discomfort.

Arriving back in Manchester, Lee feels out of place among his family immediately. The bitterly cold sea breeze and snow covered scenery echoes painful memories of his past. Unprepared for the shock of assuming guardianship of Patrick, Lee is barely keeping afloat. His nephew is a popular teen who is a hockey star, in a rock band and trying to sleep with two different girlfriends. The conversations between the two are the real power of Lonergan's film. Slightly aloof and unable to force a connection at first, the dialogue sounds genuine and has a fantastic strain to it. Patrick willingly uses his uncle as a Taxi service while keeping a brave face on this tragedy. Playing the role of surrogate Dad causes Lee to feel out of his comfort zone. Frequently he spurns the nice offers made to him by others and delves back into his reclusive side. Lucas is dedicated to keeping his father's boat going, Lee doesn't appear to agree and think they should just rent it out.

While the pair might not be fast friends, they are still the only people who can heal each other. One touching scene comes when Patrick finally begins to experience grief and Lee refuses to let him be alone. While his uncle might not always be the most clued-in person to his needs, he knows when to recognise pain. Lonergan's movie isn't about happy reunions or families solving their differences, it's about people dealing with suffering the best they can. Lee might never shake the problems of his past, but he still shows a genuine desire to know Patrick. Running into Randi is like being hit by a freight train. While she insists that she still loves him and regrets the way their marriage ended, Lee cannot bear to be reminded of the life he left behind. This brief encounter has such power that it may shatter our hearts into pieces. All the way through Manchester By The Sea there is tension whenever Lee gets worked up. More likely to use his fists than use logic, some ugly scenarios rear their head. Lonergan's movie is about how families connect with each other, how blood is thicker than water and how human's deal with emotion.

Casey Affleck gives the performance of a lifetime as Lee, a man being forced back into an old world before he is ready. A stark and emotional turn, Affleck is able to make the most of his character's imperfection. Lee is a quiet and introverted man who doesn't thrive on social interaction. Forced to become a father figure again is one that takes all his might and every minute wears on him. This is his finest work since 'The Assassination of Jesse James by the Coward Robert Ford'. Affleck gives the strongest performance of this year and is rightfully odds on favourite for Oscar glory. Lucas Hedges makes for great support as Patrick. While a ball of teenage energy, his amazing ease at accepting his father's death shows his character strength. While Lee might frustrate him, Patrick also recognises that he needs an authority figure right now. Michelle Williams could also be in contention with a whirlwind supporting turn. From the moment she enters, her presence is earth shattering and Lee's ghosts are brought to the surface. A powerful turn, Williams makes full use of her limited time on screen.

Manchester By The Sea is a powerful masterpiece by Kenneth Lonergan. Families might stray, but our hearts will always stay connected.