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.

The Beach: Review of Dunkirk

Dunkirk

Director: Christopher Nolan

By Alex Watson

Few war movies have captured the horrors and struggle of WW2 quite like Christopher Nolan's Dunkirk. From the opening frame, this movie has its audience holding their breath in a worried silence. Celebrating a real miracle of wartime, Nolan shows us that heroism is found in the most unlikely places. Shining brightly during its numerous combat sequences, Nolan's movie is equally powerful during its quiet moments.

In May 1940, 400,000 British soldiers have been stranded on the beaches of Dunkirk for some time. Rescue efforts have proven futile due to a large number of German's surrounding them. Facing a horrifying ordeal and a potential invasion of their homeland, military personnel such as Commander Bolton (Kenneth Branagh), RAF pilot Farrier (Tom Hardy), army private Tommy (Finn Whitehead) and civilian sailor Mr Dawson (Mark Rylance) must all do their part to make a miracle happen.

Diving straight into the action, Dunkirk rarely gives its audience a chance to stop and think. Low on dialogue, Nolan uses the pictures to tell the story rather than dragging it down with a lengthy and wordy backstory. British soldiers are facing a hellish scenario and overhead the Germans frequently bombard them with air attacks. The wailing sounds of the fighter planes hurtling are like hearing death from above! Home is so close yet so far (39 nautical miles to be precise) and Nolan makes the sense of hopelessness feel so apparent. In one powerful scene on a windswept beach, one British soldier wades into the sea in despair. The movie is cut into three different sections 1. The Mole which deals with the situation on the beach, 2. The Air: which focuses on the RAF dog fights to protect soldiers on land and finally 3. The Sea which is where Mr Dawson roams into view.

The imagery of this movie is what truly sticks in the mind. Nolan has mesmerised our eyes before in Inception and Interstellar, but in this picture, he refuses to fall back on computer visuals. The powerful image of watching thousands of soldiers duck for cover during an air attack is far more jarring than CGI. The horrors of this war are frequently brought to our attention- in total four ships are sunk and rescue attempts have to continually restart. Watching young Tommy trying to drown out the sounds of gunfire while underwater painfully emphasises the torture that will follow. The concept of everyone doing what they can gives the movie an inner strength. Mr Dawson is a man willingly heading into a world of trouble and when he rescues Cillian Murphy's shellshocked 'Shivering Soldier' he sees how much he will have to endure. However, never once does his desire to save soldiers wane. Nolan doesn't seek to glorify this conflict and there is no overbearing sense of patriotism. In simple terms, it's about showing just how much ordinary people can be put through when things are on the line.

Although the timelines of Dunkirk's three stories often go back and forth in time- they are skillfully put together. Aided by Hans Zimmer's pulsating and ticking score- we know every second counts. Tommy and another young soldier Alex (Harry Styles) show the end of the innocence during the war. Pushed to breaking point they resort to increasingly desperate measures to get home. Farrier patrols the air with a calm authority and despite his fuel situation being unclear he still knows that each plane he lets slip away is one more than the British need. The air sequences provide Nolan's movie with an injection of thrills. A throwback to old air classics, Nolan films real Spitfire's flying against the vast number of German fighters. Goosebumps are guaranteed to appear whenever they fly by and for once a lack of CGI is a real blessing. Cinematographer Hoyte Van Hoytema's glorious photography is what makes this journey such a harrowing yet inspiring experience.

Despite established names like Branagh and Hardy being billed, their impact on this movie is minimal. Newcomer Finn Whitehead has an arduous task of being the very face of the ordinary soldier- but he carries it off effortlessly. Showing a conflicted soul, Tommy's exposure to the shock of combat shows a boy who is becoming a man way too soon. Harry Styles might have divided opinion with his casting, but as young Alex, he truly excels. Showing a depth of emotion and talent which will surprise many, Styles proves he has some fine acting chops. Mark Rylance once again proves he is now Hollywood's go-to man for supporting roles. His Mr Dawson is as selfless as they come and Rylance gives him a bravery that is iron-clad.

Dunkirk is a movie that will be rivalled by few this year. Some might see Christopher Nolan as a director who believes he is smarter than his audience, but this picture shows that he can also deep when given a straight story to tell. Highly recommended.

Grizzly Man: Review of The Revenant

The Revenant

Director: Alejandro Gonzalez Iñárritu

By Alex Watson

Branded 'The Shoot From Hell', Alejandro G Iñárritu's tough slog has produced one of the films of 2016. The Revenant is a cold blooded but thrilling story of vengeance and survival which surrounded by Emmanuel Lubezki's gorgeous picture postcard photography will stay with us. The story of Hugh Glass is not easy viewing by any means but his determination shows the essence of humanity will to beat the odds and see another day. Sweeping the Golden Globes last night, this is shaping up to be an awards season favorite.

A fur expedition led by Captain Andrew Henry (Domnhall Gleason) runs into trouble when it is attacked by a band of Arikara Indians. Losing almost a third of the men, the survivors head down river and hope for survival. Their chances are compromised when expert tracker Hugh Glass (Leonardo DiCaprio) is a savagely mauled by a bear. Left for dead by his heartless colleague Fitzgerald (Tom Hardy), Glass has the odds stacked against him. What follows is an incredible story of survival.

The Revenant is an odds-on favorite for having two of the most breathtaking sequences of this year. Surrounded by a beautiful natural light, the camps opening attack is a rare breed of horrifying wonder. The moment the Indians arrive, chaos and disorder swiftly follow. Arrow whistle through the air like angels of death and men run for survival only to be mowed down. Lubezki shows he has earned his back to back Oscar wins during this moment and it sure gets the blood pumping. Glass' attack, however, is the real eye opener and never before has an animal attack looked so beautiful. Bones crack, skin tears and the man left to contend with a far worse beast- nature itself.

On the expedition, the men vary in terms of character as Henry is a stiff and uptight leader, Jim Bridger (Will Poulter) is a newbie to this game and his fear shines brightly. Fitzgerald is the real antagonistic force of the picture, a menacing, and self-serving presence the man will lying, cheat, steal and even resort to murder to get ahead. When Glass sees his Native American son, Hawk (Forrest Goodluck) murdered before his eyes, it plants a seed of fury as he lies immobilized. After he is left in a poorly dug grave, the man is forced to literally drag himself out. His journey from there is one test after another in the wild and sees him having to fend for himself by catching raw fish and defying death by escaping down a surging river.

Iñárritu emerges as the real star of The Revenant because the little touches he makes elevate this about the ordinary man v nature picture. His use of natural light only and Steadicam along with his bold actions such as jumping into water to follow his heroes attempt to escape death are electrifying. We never truly learn Hugh Glass' backstory, but his spirit draw us to him in a big way. Continuously he defies the odds and his journey is one that is a tough watch but worth every second. Out in the wilderness and heavily injured, Glass is forced to go beyond human limits. We see him sleeping in an animal carcass, riding off a cliff to escape another attack all the while he never loses sight of the people who wronged him. It's the kind of intensity that makes the stuff of legends.

Leonardo DiCaprio gives a performance of such raw bravado that it makes the picture tick around him. With only limited dialogue, this is by far DiCaprio's most physically demanding role, but he is not afraid to play around in the dirt. What follows is one of the fieriest and committed performances you are likely to see. If this man doesn't take home an Oscar, I don't know what to think. The supporting performances are likewise excellent with Tom Hardy leading the way as half scalped bully Fitzgerald. A worthy villain for Glass to target, Hardy's malice hovers on screen even when he is absent.

Alejandro Gonzalez Iñárritu made his crew go through hell during their shoots in Canada and Argentina, but whatever risks were taken have given the desired result. The Revenant is one of the most hypnotic pieces of cinema you will see in 2016. Just proof that Iñárritu is playing at the top of his game.

Two's Company: Review of Legend

Legend

Director: Brian Helgeland

By Alex Watson

Although Brian Helgeland's Kray Twins biopic creaks in places, an excellent and fiery Tom Hardy performance provides Legend with enough fuel. Ronnie and Reggie Kray are worlds apart in persona but are very cut from the same cloth. Helgeland does provide some great sparkle and makes out what icons these two East London gangsters in the 1960's. Their legend may come to life here, sadly it is not all perfect beneath the gloss.



Frances (Emily Browning) tells the story of brothers Reggie and Ronnie Kray (both Tom Hardy)who  rule London's East End with an iron fist. Although Scotland Yard Inspector Leonard 'Nipper' Brown (Christopher Eccleston) is on their case, no one dares touch them. Their rise to power is met by many bloody struggles as well as the problems caused by Ronnie's continuous violent temper. In the end, the pair will enter into gangster legend.



Although Peter Medak's 1990 twin biopic The Krays had its merits, it fell back far too easily on the assumption the boys were controlled by their mother. Legend stays free of the full backstory of the twins and instead focuses on their effort to secure London. Early on it is easy to see how narrator Frances is enamored with the confident and dazzling Reggie. He is the 'gangster prince' who oozes class and is beloved by all who serve him. Ronnie, on the other hand, is a like a bull in a china closet. A certified paranoid schizophrenic with a violent streak and also openly homosexual, he is the twin others avoid. Frances from much of the movie is blinded to the truth of the real monster that lurks beneath the surface.


The brothers through violence and intimidation have gained a certain credibility and this allows them to rub shoulders with stars. Even the American Mafia led by Angelo Bruno (Chazz Palminteri) wants a slice the action. The problem for the authorities is that they are virtually untouchable due to this. Ronnie is forever the bane of the twins existence as his unpredictable jumps out at the most unexpected moments. He mistrusts most outsiders, including Frances who is wary of her lack of acceptance but chooses to stay silent. Helgeland's movie loses some momentum due to its uncertain tone at points, early on some violence sequences are played almost for laughs. When going to war with the Richardson gang led by Charlie Richardson (Paul Bettany) there is a bar room brawl where Ronnie explodes at no one having guns. "A shootout is supposed to be a shootout!" he screams. You feel almost a darker tone is required that would have enhanced the fear their name alone would strike.


One neat touch that Legend provides is telling the tale through Frances' eyes. The lone female influence in Reggie's life, throughout she sees these men as both hero and villain. Although she adores her husband and still fights for the love they once shared, she is terrified of his attachment to Ronnie. Helgeland may give events a rather drawn out feel but their rise is not boring by any means. These two are portrayed as figures who fitted perfectly into the 1960's glamour and looking back it was quite something these two were so warmly embraced. Helgeland's overuse of violence, however, does leave a nasty after taste. In his defense, what better way of demonstrating the truth than the truth itself? London is ironically left on the back burner and by making the Krays the centerpiece, all else feels obsolete.


Tom Hardy is a hulking presence in this picture and is very much the power cell that gives this movie's heart beating. Sharing great chemistry with himself, he brings to life both tough persona's of the Kray Twins. As Reggie, he is the twinkling eyed scoundrel with undeniable charisma. Playing Ronnie he is the polar opposite and is stiff, nasally talking and a hotly suspicious wreck. Together on screen Hardy magnificent twice over and deserves contention this awards season. Rare is it to see an actor able to effectively play two intense characters at once. Hardy carries off with apparent ease. Emily Browning also deserves credit for her lower-key performance. As doe-eyed Frances, she is the voice of this movie that injects a degree of warmth.

Legend is a movie that is worth the admission fee purely for seeing Tom Hardy's two-handed performance. It may not be the perfect film, but still it is a great reminder of how sometimes crime can pay.

Care in the Community: Review of London Road

TIFF EXCLUSIVE

London Road

Director: Rufus Norris

By Alex Watson

While it scores full points for originality, Rufus Norris' musical London Road is one that will certainly divide TIFF viewers into two camps. Set against the five murders that occurred in Ipswich, Suffolk in 2006 this piece originally was a hit on London's West End. Making into a feature film is an idea that both works and in places slightly misfires. Overall though it is hard not to respect the bravery and drive in Norris for taking the idea forward and creating one of the most offbeat movies of 2015. 

In 2006 Ipswich, the residents of London Road live in fear of an apparent serial killers who is murdering female prostitutes. After the arrest of neighbour Steve Wright in connection with the crimes, the street is then put under scrutiny by both media and the public. As the various people including Julie (Olivia Coleman) deal with the aftermath, the healing process will be a difficult one. 

Admittedly taking such a dark subject and turning it into a musical is one idea that strangely intrigues. Using the same dialogue taken from the actual residents in the various songs is something that does become repetitive and slightly annoying after a time. London Road is a mixture of impressive and bizarre numbers, one of the high points being a brief but awe-inspiring cameo from Tom Hardy as a cabbie obsessed with serial killers. Norris does inject a great range of feelings and does find humor in the most unlikely of places. Try sitting through a news reporter finding new ways to say 'Semen' on air without laughing.  

One point this movie does firmly capture is the immense fear of the community during the height of the murders. People are constantly looking over their shoulder and wondering if the man standing next to them could be the man committing the monstrosities. When the killer is finally brought forward, the intense media exposure and the fracture of community life is one that is excellently portrayed. The members of this street complain bitterly about the problem with prostitutes, but the range in remorse is one that heightens the characters. Some act with pure disgust while others subtly hint at a hidden joy of being ridden of the problem. 

While it may both charm and frustrate viewers in equal doses, an excellent cast led by Olivia Coleman as the worried Julie do a good job of holdings together. From this Norris' film is able to cross the boundary from quirky to a thought-provokingand interesting watch. London Road may not see much action in North America, but it has so far found buzz at TIFF. The sense of community recovery is one element the film scores highly on. While trying to keep up normality through hanging gardens and fish and chip suppers, this street has been perhaps irreparably strained. Norris does well to remind us that while these people struggle on, the lives of the lost are not forgotten. 

One of the selections for City to City section at this years film festival, Norris' picture is worth a look but I cannot guarantee what your reaction will be when you exit. Who would have thought that murders could contain musical numbers?

Alex's TIFF 2015 Picks

Soon the 40th annual, Toronto Film Festival will be upon us and again I am proud to be volunteering for this fine event This year I will be taking up residence at the Bell Lightbox Theatre, but I am hoping to provide as many live reviews as I can during the festival.

Here are my picks for this year's festival 

Demolition

Dir: Jean-Marc Vallee  

Chosen as the opening night film for the festival, this one for French-Canadian director, Jean-Marc Vallee already has awards potential about it. When successful investment banker Davis (Jake Gyllenhaal) loses his wife in a car crash, his world begins to fall apart. With an actor like Gyllenhaal abroad, you know this story will be a hard hitting one. Also with support from the likes of Chris Cooper and Naomi Watts- this could be a festival highlight. Closer to the Edge's Best Director of 2014, Vallee is on a fine run of form and it looks like it will continue here!

The Martain  

Dir: Ridley Scott

Ridley Scott again returns to the sci-fi genre and has brought with him one of the finest casts of 2015! Astronaut Mark Whatney (Matt Damon) is left behind and presumed dead after a disastrous mission to Mars. With limited supplies and little chance of survival, his only choice is to beam a signal back to earth. A cast also including Jessica Chastain, Kate Mara, Jeff Daniels, Chiwetel Ejiofor and surprisingly Kristen Wiig, Sir Ridley promises one of the big rides of this year.

Freeheld 

Dir: Peter Sollett

Promising to be one the festival's rollarcoaster emotional rides, this effort from director Peter Sollett looks interesting. When New Jersey police detective Laurel (Julianne Moore) is diagnosed with cancer, she and her domestic partner Stacie struggle to secure her benefits to pay her for treatment.  Featuring a pair a great pairing of Julianne Moore and Ellen Page, this is one story that is likely to capture our hearts.

Legend 

Dir: Brian Helgeland

Tom Hardy is always has a fierce presence on screen, so just imagine the effect having him play two characters at once! Based on the story on notorious London mobsters, Ronnie and Reggie Kray (Both Tom Hardy) this film recounts the terror they beset upon the criminal underworld in the 1950s and 60s. Expect things to get heated and for Tom Hardy to be likely excellent twice over. The Krays were a formidable force, expect the film to follow suit!  

Black Mass

Dir: Scott Cooper

In what could be one of the performances of 2015, Johnny Depp is infamous Boston mobster Whitey Bulger. Documenting his rise to becoming the most famous criminal in US history, director Scott Cooper has surrounded this film with a fine cast including Benedict Cumberbatch, Dakota Johnson, Joel Egerton and Kevin Bacon. Depp looks like he could be providing us with a career best turn here, expect Toronto audiences to go wild.

The Road Warrior Returns: Review of Mad Max:Fury Road

Mad Max:Fury Road

Director: George Miller

By Alex Watson

Mastermind George Miller has ensured that out of nothing, Mad Max:Fury Road is a wall to wall belter which firmly reignites this franchise! A blood pumping thrill ride from the off, Miller's apocalyptic Oz world is engaging as it was when Mad Mel donned the black leathers. Stuck in development hell for over 22 years, this picture has not only been worth the wait! The raw punk rock influence of its predecessors has not been lost and finally Max has come on the biggest scale of all.

Captured by the War Boys of tribe leader Immortan Joe (Hugh Keays-Byrne), Max (Tom Hardy) reluctantly joins forces with defector Imperor Furiosa (Charlize Theron). The catch involves transporting Joe's five selected wives across to a safer haven across the Fury Road. But with not only Joe, but numerous other clans in pursuit- this will be no straight forward task.

With a far larger budget compared it is predecessors, Miller has been able to go full frontal on the carnage front and Mad Max: Fury Road excels epically. Seeing various tribes looking extra's from a Billy Idol video tear across the desert landscape, it is impossible not to grin widely. The beginning sequence gives a big indication of things to come as Furiosa driving the heaving armed 'War Rig' manages to thwart not only a wave of attacks from the War Boys, but then drives head first into a gigantic sandstorm! There may be questions surrounding the events of the beginning sequence, but when everyone hits the road- all theories become like the sand hanging on the breeze.

The relationship between Max and Furiosa is the one that forms the real heart of the movie. Years on, the Road Warrior is just as appealing and gutsy as the days of old. His words are infrequent, but when he lands them the effect is always felt. His reasons for joining this dangerous quest are up for speculation, but then again Mad Max has always favored the long odds. But out of the two leads, it is Furiosa who appeals more to our nature. She a woman who is desperate but not on her knees, who yearns to be free of the tyrannical group from she was forced into as a young girl. Her compassion and sheers balls that are demonstrated mark her out and as one of the heroines of the year!

But its glimpsing upon the tribe HQ 'The Citadel' that is the real eye opener. Here Miller shows a world of domination that boarders on grotesque. We see women being farmed for breast milk and Max himself is used a blood bank for desperate to impress warrior Nux (Nicholas Hoult). Joe is certainly a heavy and Valhalla spouting presences as leader, along with his silver skull oxygen mask and growling Bane like voice. Controlling his minions with an iron fist and sparingly giving them his waterfall of 'Aqua Cola' it is easy to see how the innocents of this world have immortalized his being. However, the moment that Furiosa goes rogue to rescue the unwilling brides, the movies takes on a high octane feel that shifts into top gear and refused to lower the gas pedal!

As the new Max, Tom Hardy makes for a worthy replacement and his presences on screen in one that dominates Miller's film. One of this centuries most prominent talents, Hardy has built his career is playing tough and imposing figures and Max fits him like a glove. This nuclear world will now be safe hands in future and Hardy is contracted for future sequels. Charlize Theron is also excellent as the determined Furiosa. Through her impressive turn, Theron provides the movie with a strong female presence which is badly needed for the story. Also there is welcome to return for Max old boy Hugh Keays-Byrne, who played antagonist Toe Cutter into the very first installment.

Against the odds, George Miller has delivered an exciting and rip roaring return in Mad Max: Fury Road. One of the better movies you will witness this summer, the future of Max Rockatansky is looking a lot brighter!