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.

About A Girl: Review of Una

Una

Director: Benedict Andrews

By Alex Watson

There is an undeniably stagey feel to Benedict Andrew's film Una. An adaptation of David Harrower's play 'Blackbird', this movie is a powerful look at how the past can still hurt us. Rooney Mara and Ben Mendelsohn make for a fine central pairing and their back and forth verbal duals make this picture electric to watch. Unfortunately, the movie struggles to fill the gaps where they are urgently needed.

Una (Rooney Mara) finds a picture of her ex-lover Ray in a newspaper. Having not seen him in 15 years, on impulse she travels to his workplace. Ray is less than thrilled to see her and her presence brings us a past that he wants to leave behind. Una however, refuses to be ignored and is intent on discovering why he abandoned her all those years before.

Anyone who sees Una will be shocked to discover early on that this picture deals with a forbidden romance between Ray and a 13-year-old Una. Ray sexually abused her at a young age and the pair were planning to run away together. But one night her supposed lover disappeared leaving Una to pick the pieces. Showing no fear or reluctance about her past- Una confronts him head-on about things. Although Ray openly admits there was a romance, he refuses to admit he abused her. Throughout the pair shows a different acceptance of the past, Ray went to prison but has moved on. He now has a wife and a secure management job. Una on the other hand, refuses to let things lie and demands to know why the man she thought loved her just disappeared? Set mostly within the confines of a warehouse, the pair is literally boxed in and there are no places to run to.

When Una and Ray are on screen, the movie pops with bright colour. At first, Una is very dominant and her aloof and frank approach to calling her abuser is almost seductive. Ray is a man who in brief flurries we feel a pang of sympathy for, especially when he describes his prison experience. Though we must be careful not to become too attach and as past flashback reminds us, it was him who groomed Una. Although he has done his time and wants nothing more than to settle down with his new wife, his former lady feels an injustice as she was still made to suffer afterwards.  Andrew's makes neither character likeable, then again they are not supposed to be. The way Andrews moves between two timelines showing us adult and young Una (an excellent Ruby Stokes) is haunting. Teenage Una is a girl with a sly confidence above her years, which Ray quickly feeds off. We are never shown any of the illicit acts taking place, but the implications are far scarier.

Outside of their rollercoaster of emotions, Una struggles to find a sure footing. Very few supporting characters are given any kind of screen time. Ray's co-worker Paul (a disappointingly underused Riz Ahmed) is one of the few who gets any kind of attention. Unfortunately, the movie cannot shake it stagey feel and as the pair hops from one part of the warehouse to another, there is a little room for the story to move. Also, its lack of a satisfying conclusion is one aspect that will frustrate viewers. Andrews excellently builds up the emotional and sexual tension to a stifling level. Problem is the movie has no way to really release it so we are left with a third act that has a deflated feel. There is one moment which will stick in the memory, we see Una curled up on a child's bed as she remembers being with Ray on a Ferris wheel. At first, the scene starts out as touching and affectionate, but by the end, it borders on seductive and uncomfortable.

Rooney Mara is absolutely excellent as the title character. Making full use her character's longing and pent-up anger, she gives a performance of complex emotions. Still loving and hating this man, Una is a woman who is still stuck in a time warp and unable to move on. Mara is one of Hollywood's most capable talents and she is on fiery form her. Ben Mendelsohn matches his co-star blow for blow and the most impressive aspect of this performance is how measured it is. Ray is undoubtedly a monster and paedophile but is trying to bury his past and become something new. We are given timely reminds of what crime he committed, but Mendelsohn gives an everyman charm. One of the most underrated actors on the planet, hopefully, this year he gets noticed at award season.

Una is a movie is worth seeing for the performances alone. It might not suit all tastes, but its quality of acting cannot be denied.

Commence Primary Ignition: Review of Rogue One

Rogue One

Director: Gareth Edwards

By Alex Watson

Venturing into Star Wars spin-off territory seemed like a dangerous thing at first but Rogue One shows us what wonderful nostalgia these tales can bring. Director Gareth Edwards directs this piece with a lot of love and affection and his control of the final act will warm Star Wars fans hearts. Losing none of its magic or its ability to give us characters we deeply care for, having stand-alone pictures could be a glorious thing. Set right before the events A New Hope, the questions fans were dying to find out are superbly brought forward and Edwards brilliantly joins the dots.

Jyn Erso (Felicity Jones) is the wayward daughter of Imperial scientist Galen Erso (Mads Mikkelsen). After learning of an upcoming weapons test, the Rebellion soon learns that their new space station The Death Star is capable of destroying entire planets. Anxious to find the key to destroying this station, Jyn is forced into the path of Rebel Captain Cassian Andor (Diego Luna), Imperial defector Bhodi Rook (Riz Ahmed) and their sharp-tongued robot K2S0 (Alan Tudyk).

Perhaps the strongest element to Rogue One is its premise, early on Jyn sees her mother murdered and father reclaimed by villainous Director Orson Krennic (Ben Mendelsohn). She is not for the rebellion and is just a criminal floating through life. When she is coerced by Mal Mothma (Genevieve O'Reilly) to join the Rebellion she begins to see the bigger picture. Originally tasked with convincing Rebel extremist Saw Guerrera (Forest Whitaker) to aid their risky venture- Jyn is trust into the path of Cassian. During this sequence, we see a whole new side to the Rebels. Guerrera is a man who believes in making Imperial cooperators suffer and his approach makes him a feared man. There are no lightsabers drawn (well thats not exactly true but I will avoid spoilers) and most of the battles take place on the ground. Particularly when blind warrior Chirrut Imwe (Donnie Yen) gets involved in a thrilling shoot-out on the planet Jedha. Edwards isn't concerned with stretching the story out and his no-nonsense approach works wonders for Chris Weitz and Tony Gilroy's well-paced script.

The new central cast is remarkably likeable, but have their limelight stolen by the hilarious K2SO. Coming off as C-3PO's sardonic relative, his calm and assured tone and clever wit is endlessly hilarious. A reprogrammed Imperial droid, KS20's is blunt and observant with a love of stats, but surprisingly deep in some places. Cassian and Jyn but heads almost immediately as their missions differ on many levels. Jyn merely wants to rescue her beloved father, while the Rebels perceive him as a big threat to their safety. Both have paid the price to get to this point, but neither can succeed without the other. Bhodi is a likeable character, but his risky move to defect from the Empire is not fully explained. Lurking in the shadows, Krennic comes across as a smug overachiever that is desperate to be recognised. The Empire merely views him as a nuisance, but unfortunately, his creation of the Death Star has been key to crushing rebel scum. Gareth Edwards makes the reappearance of Darth Vader a chilling and memorable one. Only on-screen for a matter of minutes, hearing James Earl Jones' iconic voice will send shivers down your spine.

Rogue One's mightiest achievement comes during its beautiful and exhilarating third act which is a love letter to all Star Wars fans everywhere. Stunningly recreating an X-Wing/Tie Fighter dog fighter during the film's climax and the reintroduction of several forgotten characters will have us all punching the air in joy. The effects are a visual treat for the eyes and we are transported back to that happy and joyful feeling we once had watching AT-AT's reigning havoc upon Hoth. All the answers we ever wanted are there and they feel utterly conceivable. While the story might dip in places and the decision to digitally recreate some treasured old characters might not appear particularly wise, we never feel short changed in this saga. Many narrow-minded fans whined about having a female hero, but Jyn feels worthy of anchoring it. Cool under pressure and willing to go the extra mile, she gives Rey a run for her money. truth this one is a team effort and how they combine to repeatedly stump Empire attacks is smartly put together.

As Jyn Felicity Jones shows her blockbuster potential. Before you would never have considered for this type of part, but through a gutsy turn Jones fits well into this universe. Diego Luna is equally impressive as the conflicted Cassian, but this is very much Alan Tudyk's picture. Sporting a brutally honest sense of humour, KS20 provides much more than the comic relief. After his excellent voice work as Sonny in I-Robot, Tudyk should just voice every robot in cinema from now on. Ben Mendelsohn makes for a good villain to play off against and Krennic is like watching a spoiled child in charge of the most powerful weapon in the Galaxy.

Rogue One has produced the best outcome we could wish for in this new era of Star Wars prequels. We now have hope for the upcoming Han Solo picture because if all spin-offs are like this one, we can breathe easy. Start counting the minutes to December 15, 2017 everyone! Episode VIII is coming.

You Know My Name: Review of Jason Bourne

Jason Bourne

Director: Paul Greengrass

By Alex Watson

Although it is wonderful to see Bourne back on the big screen, Jason Bourne just doesn't feel completely necessary. This character has proven to be one of the smartest and well-developed creations in this new millennium. Paul Greengrass is able to conjure up those moments that we love throughout this picture and like always it is given a clever story complete with unexpected twists. Problem is that the constant turns become impossible to follow after a point and although it is wonderful to see Matt Damon and Greengrass resurrect their greatest creation, it doesn't thrill like it should.  

Jason Bourne (Matt Damon) lives off the grid in Greece and has hoped to put his troubles behind him. When his old colleague Nicky Parsons (Julia Stiles) comes looking for him, this already spells trouble. Soon he is implicated in a global encryption scam which sees him under the suspicious eyes of old school CIA Chief Dewey (Tommy Lee Jones) and new ambitious agent Heather Lee (Alicia Vikander). He must also contend with some difficult secrets about his past.

While it is not an unwelcome fifth entry, Jason Bourne was maybe a step too far. In places, it thrills and you forget how naturally Greengrass' direction fits this franchise. When we left Bourne floating in the New York waters, it was the perfect end to a wonderful trilogy that gave us possibly the best character arc. When we first see Bourne making a living as a bare-knuckle fighter on the Greek-Albanian border, it does make a nice reappearance. When his old lover/ally Nicky shows up and starts hacking the CIA, this is when shit starts to real. Tracked to Athens, he soon has his old nemesis The Asset (Vincent Cassel) chasing after him during a political riot. While Greengrass gives an impressive kick start, it's not all uphill from here. Discoveries about his true identity do keep this picture on its toes, but the big reveals just do not shock us anymore. In the previous three installments, each little red herring injected a little more excitement as who Bourne really was? Here it just feels like they are drawing out the mileage.

The main issue with the story line comes from its overloaded central premise, Bourne is still attempting to under just how he came to join Treadstone and when he discover his involvement may link close to home a new fire is lit. Grouchy and underhanded Dewey is an old style veteran who believes in just tying up loose ends. His conflict with his protege Heather who believes Bourne should just be brought in, Dewey adds little to picture and is reduced to shouting lines at random personnel. There is also the added problem of the perhaps unnecessary side story of billionaire Aaron Kalloor (Riz Ahmed) and his industry Deep Dream. Believing that privacy is key to society, Dewey naturally needs him for a key project and he is reluctant to assist. Living in a post-Snowden society has made the CIA anxious and now they are willing to risk people's freedom to stay ahead. So many different things happening at once really hinders the stories progress, also suffering is the disappointingly underdeveloped villain, The Asset. A cold and brutal presence, Asset is given precious scraps to feed off and is reduced to simply wordlessly killing people. He appears like a throwaway character added at the last second.

Greengrass does resurrect Jason Bourne during its final act set in Las Vegas. When he does car chases, there is no one else who nails them better and watching car fly and a SWAT vehicle plow through a casino is vintage Bourne. Overall this film does tie itself in well the with the other films but cannot escape being trapped in their shadow. Bourne is still a character who can make us pay attention and he still breaks bones and thinks fast like no other, but this time, it just feels formulaic. Part of us wonders whether this character really needed another outing when he was sitting pretty after a hat trick of great adventures. The plot has its merits and brings forward some potent theories over how much power the feds should really hold with their surveillance? However, you feel maybe too much is happening at once and before long our attention starts to slip.  If the final moments are to be believed then Damon's finest character will see another outing, question really is how much do we really want this?

Matt Damon again is great in this part and the principle strength of this franchise has been his ability to walk the line in between conflicted killer and living by a complex code. Bourne has been his greatest hour, but in his fourth outing, this just feels like he is going through the motions. Damon can surprise us with his character's quick thinking and still show great smarts when the pressure is building, but now is maybe the time to put this to bed. Tommy Lee Jones is required to do little more than stand there looking grumpy as Dewey. One of the really great presence's of cinema today, Jones is unable to really bring anything else to the screen other than just giving orders. Similarly stranded is the immensely talent Alicia Vikander who is asked little more than to speak in basically a monotone. With this caliber of cast, they should have made far more with the talent on screen and this feel like a missed opportunity.

Jason Bourne was perhaps not the wisest sequel that will be released in 2016, but while it doesn't quite hit the mark set by the original trio, it still poses some interesting arguments over our freedoms.