“Venom” is exactly the sort of fun, forgettable movie Hollywood is in love with these days. It came out without a tremendous amount of hype, aside from diehard comic book fanboys, and proceeded to make a boatload of money.
I just saw it two months ago and I can barely remember it.
Tom Hardy plays Eddie Brock, a hard-charging digital journalist living the dream in San Francisco. Things come crashing down in short order when he takes on a technology tycoon (Riz Ahmed) everyone thinks is nice but secretly is working on some nasty experiments. While busting into the laboratory to prove his case, Eddie gets unwillingly attached to an alien symbiote and becomes Venom.
It’s a symbiotic relationship -- if your partner was a bullying, violent ball of black tar from another planet that wants to bite off everyone’s heads. Eddie’s aware of everything going on when Venom takes over, but can’t really control it.
Powers are fairly similar to Spider-Man’s: super-strength and speed, as well as the ability to create spikes and other shapes out of its pitch-black form. Oh, and he’s got a nasty pair of choppers to make good on all the avowed head-chomping.
The action scenes are a bit muddy, and I didn’t appreciate another Tom Hardy character whose dialogue is hard to understand. He’s a great actor, but mumbling is not an aesthetic.
The Blu-ray comes with some cool bonus features, including several deleted and extended scenes, a making-of documentary, pre-visualization of some of the CGI-heavy sequences, several featurettes and a couple of music videos.
By far the coolest extra is “Venom Mode,” in which you can watch the movie with informative pop-ups throughout the movie that include comparisons with the comics and hidden references.
"Venom" is pretty goofy and kind of a garbage movie. But it's the sort of thing that's fitfully entertaining, enough so that you tend to forgive the goofiness and garbageness.
Tom Hardy graduates from playing a Batman villain to a Marvel one, although in this telling he falls more into the anti-hero groove. You may remember from "Spider-Man 3" -- unless you've purged the entire thing from memory, which isn't a bad idea -- that Eddie Brock was a rival to Peter Parker's at the Daily Bugle who eventually become infected with the same alien symbiote that lent him his cool new black suit and darker powers.
This presumably takes place in some alternate timeline, where Eddie never became Venom but instead was chased out of the New York media scene for veiled indiscretions. He landed in San Francisco and has done well for himself, operating as a mobile investigative reporter for a local network doing "The Eddie Brock Report." He's got a cool townhouse, a nifty motorcycle and even niftier fiancee (Michelle Williams).
Things come a-tumblin' down when he goes after an Elon Musk-like tech billionaire whose space program brought back the alien creatures, which resemble twitching balls of tarry goo, and is experimenting with bonding them to mammal hosts, soon upgraded to human guinea pigs.
Eddie loses his job, his home, his girl and his reputation. Oddly, although his clothes and hair get scragglier, he never seems to run short on cash, generously handing a $20 bill to a homeless woman. And he's able to keep his bike and park it in a dingy alley without ever having to worry about it being stolen.
The villain is played by Pakistani actor Riz Ahmed, and I thought it was cool that we're at a place culturally and cinematically where we're comfortable with a brown bad guy. Though for some reason the movie grants him the overpoweringly WASP-y name of Carlton Drake.
One of the alien symbiotes attaches itself to Eddie, turning him into a monstrous figure that resembles Spider-Man dipped in boiling pitch, with a nasty sexualized tongue constantly wagging. He gains superhuman strength and agility, and the symbiote can create spikes or other shapes with its tentacle-like appendages.
Hilariously, the creature also speaks to him, using the same rough, growly Batman voice that has become de rigueur for darker comics characters. It can control Eddie's body and actions, though he remains conscious the entire time, even when Venom wants to (and does) chomp on people.
At one point Venom looks at a gang of mercenaries they have just defeated, and suggests he bite off their heads and arrange the pieces, just for the aesthetic pleasure of it. "Pile of bodies, pile of heads!" it demands.
There are some decent action scenes, though the CGI often becomes bewildering and hard to follow. Hardy plays Eddie as another one of his mush-mouth twerp characters, more Ratso Rizzo than Peter Parker.
"Venom" starts out a little scary and eventually turns into a weird buddy cop comedy, except one of them's a voracious alien creature and neither one of them is a cop.
“Midnight Special” is a little science fiction indie that you probably haven’t heard of. It got talked up a lot among film geeks, turned heads on the festival circuit, but then was dumped into theaters without fanfare – or even bothering to screen it for critics.
It quickly disappeared, earning about $6 million against an $18 million budget.
Hopefully it’ll find the audience it deserves on video. While the movie has some flaws, it’s an engaging and offbeat supernatural mystery/thriller featuring some fine actors. The pacing is a little off -- the filmmakers hold onto their secrets too tightly and for too long, then overwhelm us with sudden revelations. But it’s got a verve of originality so often missing from this genre.
Michael Shannon plays Roy, a determined man on the run with is son, Alton (Jaeden Lieberher), who is 8 years old and… peculiar. He wears dark glasses all the time, never goes out in the sunlight and is regarded by others with a mix of fear and awe. Tagging along is Lucas (Joel Edgerton), a former cop who acts as their knight-errant protector.
I won’t get into all the convolutions of the plot, but suffice to say they are both running away from something and running toward something. Men from The Ranch, an end-times cult that Roy and Alton used to belong to, are in pursuit along with the law.
Kirsten Dunst turns up later as Alton’s mother, who’s been in hiding. Adam Driver plays a sympathetic scientist trying to puzzle out Alton’s mystery. Sam Shephard plays the eerily charismatic Ranch leader.
Strange portents are all around, and there’s a giddy feeling like the movie could slip off in any number of directions.
Writer/director Jeff Nichols (“Mud,” “Take Shelter”) is an original voice who deserves to be heard. Though “Take Shelter” doesn’t quite have the emotional punch of his earlier movies, here is a filmmaker who thinks outside the lines.
Bonus features are… interesting. Instead of the usual making-of documentary or commentary track, both the DVD and Blu-ray versions have five “Origins” featurettes on each of the five main characters. There’s also another featurette, “The Unseen World,” on the film’s metaphysical musings.
"Midnight Special" has that Spielbergian element of wonderment but not the emotional connection. Writer/director Jeff Nichols' fourth feature film, all of which feature Michael Shannon, fills the mind but not the heart. It's a mystery that reveals too little of itself, as if afraid to lay down its big cards and see how the audience reacts.
It's still a worthy film. But compared to the unnerving appeal of "Take Shelter" or the twangy, Twain-esque charm of "Mud," it feels like a bit of a letdown.
Two men are on the run, having kidnapped a curious young boy. Alton (Jaeden Lieberher), 8, sits in the back of the car, content and unafraid, reading comic books while wearing dark goggles as they flee in an old muscle car -- even though it's night. Alton never goes anywhere during the day, never goes out at all in the light.
Answers are few, and drip out at a sometimes frustratingly slow pace.
Roy (Shannon) says he's the boy's father, but we're not entirely certain. He's a little distant, giving instructions in a harsh tone. He seems to regard Alton as an obligation rather than someone to be loved. The other guy is Lucas (Joel Edgerton); we know even less about him than the other two. But he handles himself well in tight corners, and we get the sense that's why he's there.
They clearly care about Alton, revere him even; but it's the sort of care you might have for a pet tiger.
Clearly Alton is special. We know this because a (too) long expository sequence introduces us to The Ranch, a religious cult run by Calvin (Sam Shepard), who is Alton's adoptive father. They've got a Branch Davidian feel -- pastoral, patriarchal, well-armed and expecting a reckoning any day now. The FBI has been watching them for some time, and when Alton is kidnapped they search the place and question everybody.
Adam Driver plays Paul Sevier, a bookish type from the NSA who's brought in because some of the Ranch's scripture includes data that could only come from top-secret satellite communications. Calvin patiently explains that the boy sometimes speaks in tongues, and they write down what he says and regard it as holy text.
There are also reports of supernatural powers, light coming from Alton's eyes, and those who commune with this illumination feel a sense of peace and fulfilmment.
After the feds have left, Calvin dispatches some of his own men (Bill Camp, Scott Haze) with guns to track Roy down and bring Alton back.
We eventually meet up with Alton's mother (Kirsten Dunst), who is eager to be reunited with her son. We get the sense Alton was taken away from her and Roy without their entire willing consent. Both used to be part of the cult, and broke away at some point, or were thrown out.
"We get the sense" is largely the way the audience experiences this movie. Too many filmmakers feel compelled to spell everything out for us, to the point there are no surprises. Nichols goes too far the other way, raising tantalizing question and possibilities and then... just leaving them out there, unexplored.
Since the Ranch folks seem to regard Alton as their resident savior, did the cult exist before he came into their midst? Or did they adjust their beliefs to accommodate his supernatural abilities?
Eventually we learn more about Alton, what he can do, what his purpose is. But the information arrives so late in the going it doesn't have time to register with a lot of visceral impact. There's too much chase-chase and not enough questioning why they're running, and why others are chasing.
Despite all this, I liked the movie. It's in some ways a spiritual successor to "E.T. the Extra-Terrestrial." Alton is the intriguing Other whose mystery must be puzzled out, but doing so means certain loss for those who join the quest. Dangerous people join in the hunt, some with benevolent intentions, others selfish, but either way their interference just serves to prevent Alton from fulfilling his destiny.
There's been a lot of buzz about "Midnight Special," but the studio decided to dump it into theaters without any fanfare or screenings. (They even moved up its limited release by a week on short notice.) It's a shame. It's a flawed but worthwhile film that bespeaks of better things to come.
