If looking for an Artistic/Alternative Horror, Give this Film a Wendigo

            Another holiday weekend, another attempt to get us set for the mood with a blockbuster that was supposed to be timed well.  One film this weeks is Antlers, a horror film with a poor record of push backs and advertising that has been lackluster, this supernatural epic might be limping at the box office this weekend.  With a heavy hitter batting for the team, and the fact we can be surprised in this age of cinema, it was still worth a trip to check it out.  Robbie K thanking you for taking a look with me as I review:  

Movie: Antlers (2021) 

• Director

• Scott Cooper

• Writers

• Henry Chaisson(screenplay by)
  • Nick Antosca(screenplay by)
  • Scott Cooper(screenplay by)

• Stars

• Keri Russell
  • Jesse Plemons
  • Jeremy T. Thomas

LIKES: 

The Filter: 

It’s dark, it’s grey, and it’s perfect for the established setting that Antlers takes place in.  Oregon’s rainy plateau and heavy forested areas hold much in the way of horror, but the added grey filter gives you the feeling of isolation in this small town.  The creepy elements of the movie are amplified to an extent that you can feel the malice of the monsters and its victims in just about every shot.  It’s that set up that is definitely the heavy lifting of the movie and like E.T. did in the 80s, immerses you into things at the just the right amounts. 

The Artistic Approach to Horror:  

Unlike many horror movies, Antlers took a less direct approach to horror and focused a lot more on the storytelling and build up instead of the jump scares.  It works on a lot of levels, especially on the subject matter of myth, legends, and storytelling, primarily on how it effects a culture and grows into an entity of its own.  That concept is very much like the beast in this film and they do a great job of circling the obvious source of the carnage before you ever get the real vision of what is doing this.  Your Imaginate gets to sort of paint the idea of what this nightmare will look like, and that kind of storytelling is sometimes even better if done and timed right.  

The Realism of the Entity:

Let’s face it, horror movies are seldom the most logical or realistic concepts given the themes they are often going for.  Where we have ghosts with double standards, killers capable of transporting at the drop of a hat, and psychics who suddenly become gods, the absurdity of the movie monster has gone sky high in an attempt to be unique.  Fortunately, Antlers grounds the nightmare to a reasonable level, creating a legend that actually has merit in being believable without ascending supervillain level.  As the movie progresses, the actions of the antagonist grow to mirror that of the established legend and keep to moments that really do feel like it’s after you in the woods.  Sure, it’s not the most cunning, exciting, or even most intense thing to grace your presence, but it works for the rules established and goes with the theme. Again, it’s the new atmosphere of the movie that works for me and seeing the other actors build up the horror, is the true level of creep factor that the movie does well.  

The Characters: 

Antlers again moves towards realism with the characters it portrays and how they have developed from their traumatic experiences.  These aren’t individuals who have developed super powers or alternative identities, nor are they these cannon fodder sacrifices who are gussied up to the be the pretty face that we see get devoured.  No, these characters are certainly realistic portraits of what people with rough past can be like in trying to cope back into real life.  It leads to more engaging characters and potentially rooting for them finding a means to break through what lies in the woods.  This drama element is very strong in the movie and the horror of how to handle all this pressure from the situation is really well done and truly a beast itself.  

The Acting:  

The movie’s staple is the acting, which is hands down incredible for a movie of this genre that normally does not rely on acting to make it better.  Keri Russell is sensational in the lead, a balance of terror, depression, and trauma blending together into a lead that has both heart and brains to search for the answers.  She does not tread into the overacting territory that much, keeping to the established responsibilities of her character and transitioning into the role quite well.  I felt she really integrated herself in the character of Julia and engaging with all the characters in a natural manner.  Jesse Plemons is a good character to bounce off of Russell’s more energetic nature, his blandness sort of establishing a character who compensates for his past in a more toned down way.  A great glue to the town setting, Jesse’s range of acting is not as taxed as Russell’s, but does accomplish what he needs for advancing the plot and “mystery” element of the film.  The winner for me is Thomas though, a young actor with a fantastic range and maturity in his performance as Lucas.  A role that could have been much more limited, Thomas had a lot of adult elements to face in this movie as he tried to salvage his life situation to the best of his ability and portray someone drowning in drama and stress.  I can’t say more without giving away plot elements, but his way of going through the stages of these breakdowns is super impressive for me.  He somehow channels the wisdom of those decades older than him, but never lose the innocence of the child he is. 

DISLIKES:

The Predictability

If you’ve seen the trailers or read the synopsis, you’ll be able to predict about 90% of the movie before it concludes.  This diluted the horror element for me alongside the surprise twists this movie would have done well to have, but overall it’s not the worst limitation for me in this film. 

The Lighting: 

While certainly a wonderful element for establishing the mood and enhancing the creepy atmosphere, there are times the darkness can get in the way of the full scene and giving you the full picture of what lies out there in the woods.  Antlers could use some lighting adjustments and slight tweaks to the mix, only going pitch black at a few times before enhancing the lighting to give more details.  If watching at home, I recommend minimizing glare where you can, because it can really block the scene if you have too many lights on.  

The Carnage:  

This is not a movie for the faint of heart or stomach, as it does not pull the punches for showing the deaths and chaos of Antlers antagonist.  Like the Walking Dead on steroids, this movie’s realistic approach means you will see some torture and tearing that might be too disturbing.  An applause to the special effects and make up that I did not mention earlier, as they really do make props and accessories to bring the death to life.  However, there is so much depressing mauling I can take at times before it grows a little too much for me.  

The Character Development/Backstories

You can tell that this movie may have had more planned for diving into the psyche of our characters as they circle around the issue plaguing the town.  An opening scene hints at the pasts of her demons, establishing the character’s struggles and what she had to do to survive.  Other dialogue points to similar arcs for character like Joel, Lucas, and other characters that could have been engaging and useful tools for advancing the plot.  Sadly, all those elements are practically absent, lost to brief shots and moments that sort of feel out of place without fully fleshing out the sequences and giving us those answers that still lay in mystery. Realism for deflecting gets some points, but what was the point of bringing it up if they did not have intentions to pursue it?  This is the weakest element for me to be honest of the movie, and for one focusing on legend and taxing of your character, those origin and struggles internally need to be ironed out to deliver the character delivery you are looking for.  This incomplete story telling really stands out in a lot of moments and takes away from the movie as a whole for me given the approaches they were taking.  

More time with the monster: 

It’s a unique approach seeing the thing’s progression to the screen, but it’s not until the last 15 minutes that you get the full picture of the antagonist.  Again, I would have debuted the thing a little earlier and provided a more thrilling engagement than what I felt we got at the end.  Though a bit tough, I think there was more that could have been done to finish the film, but the short run time and potential cuts means a director’s cut might be out there to fill in the gaps in the future. 

The VERDICT: 

Antlers is one of those movies that feels like a hybrid of an Indy horror and a Blockbuster for me.  It’s got great visual style, establishing a setting that will strand you out into the small town of Oregon and the community who is scared of the unknown events.  The focus of story driven scares, character centered sequences, and using your imagination to paint the antagonist work very well and help establish a realistic horror that can be appreciated in the sea of cheesy movies that this genre sometimes gets.  And the acting is by far the strongest point for me with talent from the younger star really blowing my mind at how well he could bring so much to this character.  However, by taking this approach, Antlers scare factor is a bit diluted from the traditional sense and has a lot of elements that get in the way of a masterpiece scare flick they were going for.  Pacing and predictability sort of dilute things, and the carnage may be more disgusting than creepy given the response of a few patrons in my showing.  The two biggest limitations of the film though are the limited backstories/character development and little time with the antagonist that will be the most disheartening to many I think.  It seems like this movie was incomplete to me and so I can’t say that I’m surprised that with the delays, things suffered in the final cut.  Overall, this movie is probably best watched at home with a theater like room, and I would give the film:  

Drama/Horror/Mystery:  6.5

Movie Overall:  5.5

I Had SoHo Much Fun With This Movie: Last Night In Soho

            It’s Halloween weekend and murder is in the air!  No, wait, it’s horror in the air… Maybe both?  Well tonight’s movie is a little bit of both and tonight’s tale shows that many genres can be put together for an engaging piece of work.  The Last Night In Soho’s trailers gave me mixed feelings when I saw the poster and trailer.  High potential from the scenes I saw, I have been fooled by the trailers countless times for being suckered into an okay movie.  Will tonight be a fantastic surprise for this Film Festival Favorite, or am I being fooled again by the magic of editing.  Let’s take a look as I review:  

Film: Last Night in Soho (2021)

• Director

• Edgar Wright

• Writers

• Edgar Wright(story by)
  • Krysty Wilson-Cairns(screenplay by)

• Stars

• Thomasin McKenzie
  • Anya Taylor-Joy
  • Matt Smith

LIKES: 

The Style: 

Like the poster and trailers, this film was hinted at being a stylish take on the horror genre, and it delivers this in so many ways.  Wright leads a wonderful charge into two different time periods of London and make them look so dang fun and stylish to live in.  There is energy from two different periods cascading into one story, pulling you into the story of this little play, working you into the life of our main character Ellie.  Setting wise, it’s an engaging piece that is realistic, dynamic, and engaging to the tale, with almost every place used well int eh story.  

The Presentation:

The premise as you can see in the trailer is that Ellie is drawn into the past to see and experience the life of Sandy.  While this may not be the most unique story we’ve seen, Wright’s style is super intriguing in the transitions, especially in the beginning with how she wound up in the world.  The fun aspects of life we see involve some fun use of mirrors and switching perspectives to really get you into the feel, only to then drop us back into the real world moments later.  Sandy’s impact on Ellie is then later explored and seeing the effects were super fun, and even more so how the later aspects of Sandy’s life really start to spring on Ellie.  These moments are placed well, and each scene has a life of its own, but yet is integrated into the whole picture to never fell too tangential or overwhelming form how smooth the piece was.  I was very surprised by these transitions, and how well used they were given the potential to overdo the gimmick.  

The Acting:  

It’s good, a fantastic display of quality acting in the genre where many just kind of bring their B and C game in most movies.  Soho’s group is strong across multiple fronts, and given the direction, character development, and chemistry was able to bring both worlds to life for me.  Thomasin McKenzie is a wonderful lead, innocent and naïve, but holding much beneath the meek mannered persona she starts out with.  As the movie continues on, she is pulled into other elements that require drastically going through the spectrum of emotions and bringing the terror out in this role.  Anya Taylor-Joy is not quite as vocal or dynamic as McKenzie’s role, but dang does she play the past role extraordinarily well in what she was told to do.  I can’t reveal much, but let’s just say that she has a combination of confidence, sex appeal, and artistic presentation to bring the emotions of the 60s era to life.  She bounces well in the scenes shared with McKenzie, and the looks she gives speak volumes over the dialogue that other characters were given in this film. Matt Smith has the looks of his counterparts super well, executing the cocky arrogance of the times to an artful degree, and adding the dramatic flair that ties things well together.  His looks in the suits, alongside the nonverbal acting, speak volumes and establish the atmosphere he holds, and I can’t deny that he elevated a lot of scenes in the beginning to drive the pace and story. 

The Pace: 

A movie like this can be slow given all they try to do, but Soho did not feel long to me at all.  Because of the ever changing nature of the film, the smoother transitions, and continued evolution of the mystery continued to move to the end.  With little tangential detours and not trying to force messages and politics in my face, Soho managed to keep us on the story and lives of the character helping to move the film to its conclusion with steady steps.  

The Characters: 

So nice to find a horror movie where the characters are much deeper than the usual fodder we get.  Like the acting, the characters have a lot of layers and quirks to deal with, never being perfect or overpowered, but rather strong and persistent to overcoming their problems.  McKenzie’s journey was relevant to me on several elements, and I loved the approaches she took to figure out a lot of the happenings in the two “worlds.”  This is true for so many of the characters, many of which are used well to progress the story and actually not just be there to be an overdramatized statement.  This is definitely true with the character John, who has a lot of great moments in the film without stealing the show the show away from the group.  It was great planning and attention to detail that this genre needed very much for me, and I was happy that Soho delivered this. 

The Music: 

Those who like the classics and appreciate the use of music should really enjoy the styles of this film and how much the music moves the scene.  What is used for a character development in one scene, suddenly gets turned into a jaunty number of fun and 60s dazzle before dropping into a simple montage piece to express the emotions of Ellie.  Other sequences have the setting amplified to wonderful levels, sometimes being creepier than the visual elements presented.  And do not worry, Soho has a combination of modern vibes and big band fun to get you into the moment and I had a blast with it.  

The Story/Genre:

Again, the story is not the most unique or artistic thing I’ve seen, but what surprises me is how many genres were crammed into this movie.  Soho is not simply a horror/thriller as the categories painted, but instead manages to add layers of other components into film to mix things up and help it stand out from most other films in these categories.  There are elements of a comedy that work in just seeing Ellie experience life in London, but then drama comes in to help complicate matters and add a realistic portrayal that is not buried in cheesy scares.  The drama further elevates in a different manner at parts of the movie, and soon a mystery starts to develop that soon starts to fold into something else.  Crime and Thriller elements start to resonate even further, and soon the horror creeps in only for the other elements to peak back in and allow the other genres to rest.  You would think it would be convoluted, but instead it’s balanced and meshes well to make a twist on life that again is fun to watch and again interesting to solve all the deceptions hiding in the two worlds.  

DISLIKES:

Character Utilization:

While there are many characters used right, there are others that held more potential and sadly were cut from the final number.  The past selves of a couple of the older characters held some potential to add to the mystery, but I can understand the reasons for their limited use.  It’s the mean girls that plague Emmie’s life and I would have loved to see them integrated a little more in the push to get Emmie to continue diving into the world of the 60s London.  It’s a small complaint, and there are others I’d have liked to foster relationships with, but the stronger relationships work well for me.  

The Seedier Moments:

You can guess that Soho’s neon lights are going to offer many a thrilling dazzle, and some of those moments are going to be portrayed to big details.  While I don’t suffer from this type of PTSD, I caution those who are sensitive to take heed at the detailed moments of abuse that will be present in this movie.  I’m not big on these moments, and fortunately they are lighter, but it only takes one memorable scene to scar your mind so caution.  

The Violent Moments: 

I can’t say I really hated these moments, but a couple of the times that got intense crossed the border into savage territory.  Again caution to the squeamish and the sensitive to noises because these moments are very loud and sort of hurt my ears as the chaos unfolded.   Again, it’s a minor dislike, but still one to watch for, alongside the flashing lights if prone to seizures/migraines from this aura.  

The Ending To A Degree:

When things finally come together, the ending act starts to fall and unravel, with the horror element sort of fizzing out for the dramatic part.  I did not hate the ending at all, but after all the buildup, I feel the climactic moment took a direction I was hoping it wouldn’t and gotten the true finish worthy of putting everything to a close  It’s got some symbolic finale with it, a nice job towards the style and character development, but it sort of trips at the end to stumble across the line.  And yes, there is some predictability to it, which does lay the foundation for figuring out what will happen in that final moment.  And even more so, the special connection Ellie has is left rather unexplained and convenient, and I would have liked that shock factor to have been that connection. 

The Verdict: 

Soho was a stylish surprise for me, that tied back to the classic elements of the horror element and blends multiple genres to make an engaging story.  With fun characters, intriguing premises, some realistic lifestyles, and two worlds to balance, Wright brings us a layered tale that should grab a lot of the attention for multiple audiences.  Acting continues to shine and some of the characters allow our actors to spread their wings and take thing to deeper levels than the usual thriller/horror cast.  A great moving piece with lots of visual and audio components to enjoy Soho has much to check out.  True, the character utilization does require some work and tweaking, and there are some intense moments that could hit sensitive viewers, but the main weakness for me is the tripping of the final act to not deliver the full potential that was building up to it.  Still, I had fun with this movie and encourage you to check it out if you get the chance in theaters.  

My scores are: 

Drama/Horror/Mystery:  8.5

Movie Overall:  7.5

Ron’s Gone Right In Many Ways I Did Not Expect

            Kids movies, they are a treasure trove for many and in truth a staple to the joy we get to feel in our lives, especially around the holidays.  Disney has cornered the market with the franchise and pushed us to new limits, while Illumination sticks to the usual fun moments that kids abuse.  So this movie coming in seems to be a wild card between the two giants, hoping to get a cute story out that won’t be lost in the sea of digital animated films in this era.  Ron’s Got Wrong has had a little aggressive marketing campaign, and from my friends not really stoking the fires to get fans excited.  As such, let us see what we’ve got in motion as we hit the review on:  

Movie: Ron’s Gone Wrong (2021)

• Directors

• Sarah Smith
  • Jean-Philippe Vine
  • Octavio E. Rodriguez(co-directed by)

• Writers

• Peter Baynham
  • Sarah Smith

• Stars

• Jack Dylan Grazer(voice)
  • Zach Galifianakis(voice)
  • Ed Helms(voice)

LIKES: 

Great Pace:

Animated movies always fluctuate with balance issues and their gimmicks, often executing well and sometimes tipping one way over the other.  Ron’s Gone Wrong starts with a good pace that moves to be fun and engaging for younger audiences, but not so much to skip the deeper messages lying in wait.  The movie handles transitions between the acts very well, each one having a decent amount of time, sticking to a realistic timeline, and still moving to never get lost in any gimmicks.  It’s a major source of the fun for me, and should be able to hold the fleeting attention of the modern generation. 

Animation: 

It’s not realistic, it’s not groundbreaking, and it’s not the most unique pallet to paint on, however Ron’s group is certainly fun, cute, and animated well to bring the story to life.  Ron’s tale has a lot of dynamic movement between the robots that plague the world and the humans who use them and both elements are done extraordinarily well.  Younger audiences should welcome the bubbly, rounded features of the world, and even the “darker” aspects are shaded to be less imposing for more sensitive viewers.  Nevertheless, the dynamic stunts and adventures are gorgeous and filled with emotion as the more intense moments hit.  

The Voice Acting:

Nothing that hits the Oscar category, but certainly well done nonetheless to get the characters alive and past the simple digital representation.  Jack Dylan Grazer hits the vulnerable teen well, a mixture of confusion and hurt that gradually evolves into a more mature role as the movie moves on past the simple adventure.  Ed Helms is still excelling at the antagonistic role, and works well in the enunciation and mannerisms that seem to match the character on screen making for a simplistic character to throw a wrench in the gears.  The star is Galifianakis though, whose voice of Ron is sensationally casted for the quirky robot struggling to boot up and perform his coding.  Ron’s style takes the ridiculousness of the actor, but manages to curb it into something tolerable and PG rated that works to be humorous.  Even better, he also lends to more emotional moments, managing to never lose the robotic tone and delivery, and yet somehow instilling emotion to the level.  

The Presentation: 

The movie is wonderful for helping to really deliver the powerful punches that the movie is trying to execute. The first two acts manage to be focused on the buildup, giving you the hurt and sting of the protagonist and the family’s attempts to help him adapt into the new world.  It’s balanced between fun and drama, keeping a pace that is inviting to the attention of all ages.  Then the third act starts to really dive into the fun, never dropping the drama or suspense, but focusing on the subtle moral lessons while keeping the fun.  Then it’s the final two acts that start to play around with the balance, never eliminating one or the other, but adding the tweaks to again get that presentation going.  I loved the designs and close ups of those key moments, while utilizing other things like sound, music, and simple change of perspective to capture all of the moments needed.  

The Comedy:

Not the cleverest, and really not the most spread, but something about Ron’s charm manages to make elements of the movie very funny for adults.  Sure there is kid humor, all about using slap stick and quotable lines to have your little ones giggling in delight.  Ron’s lines in particular are reminiscent of technology gone wrong, mixed with childlike innocence and wonder, and mixed with just enough sarcasm and blunt humor to be very entertaining.  Slapstick moments arise decently, and other elements integrated into the mix with other characters will touch other comedy moments lightly.  It works well with the theme, being a staple without overcoming the other elements and I enjoyed it even if I was not on the floor laughing the whole time. 

The Story/Morals:

This is probably the strongest thing I latched onto in this movie, the story and the lessons tied with it. Barney’s tale is relevant to this reviewer, not only in personal experiences, but in approaches to the modern trends and way of life that the last 7 years has brought.  Feeling the social life being lost to the technology life is tough, and Barney’s caught in between both that are combatting for the dominance in the world.  Upon Ron’s emergence, this tale really tries to highlight things that I think are important and what I try to do, which touches a lot of my heart strings and brought the fun out of the movie.  As the relationship between the two protagonists evolves, the directors and animators try to up the game and in many senses I think hit the check boxes for that emotional punch we all need in these movies.  Especially the ending where the climactic collision of all the stories works together to really deliver the finale we have been looking forward to all this time.  

DISLIKES: 

Predictable: 

I never expected this to be the case of a surprise, but you always hope for something to blow your mind with these movies.  In this case, the movie is very linear and predictable, taking suspense away because of how much I knew was coming.  For most, this won’t be an issue if they are having fun, but as a reviewer there is a little bit of tweaking to help get the story to engage to older audiences past the target audience age.  Some plot holes also can get in the way of things at times, primarily when logic and security tend to be easily subverted to get the job done.  

The Character Usage:

I’m mixed on this because in truth they did do a nice job keeping many characters in the film, it’s just that some of them really get dropped despite the hints they do in one scene.  The climax suggested there would be a lot more involvement with some of the other kids and their talents, but that did not happen, and they were mostly used for some political moments rather than ingraining them into the tale.  They are used quite powerfully, but I can’t say that there is room for improvement to assist with the better development with some of the group. 

Ron can be a bit annoying: 

This is a small tweak definitely, but the I have to admit that there are times when Ron’s antics are a little too much.  Primarily at the beginning when Barney is trying to get him set up, the writers tended to stray into the realm of a few jokes too far.  It gets mitigated much more down the line, but there are a few times of going down the kid avenue over the adult humor. 

The Comedy:

Not perfect, but Ron’s Gone Wrong could have used a little more adult humor to bring the adults in further.  Again, it does not mean it has to go down the levels of derogatory humor, but 90’s television and Shrek has proven you can be a little bolder with comedy and hide it from the kids.  I would have liked that very much for helping break some things up instead.   

The Politics:

Yes, there is unfortunately some political preachiness in this film, and to the point of being a little in your face.  However, I have to say it’s not promoting the usual manners and was more acceptable than some of the other films I’ve seen in the past (looking at you Charlie’s Angels 2019).  But, the messages in Ron’s about friendship vs. technology may rub people the wrong way depending on which way you swing in the era of Social Media vs Social Networking with people.  I think Ron does a nice job mitigating it if you stick with it, but it can be hard given some of the in your face symbolism and lines.  This may be the part that will drive more people away, primarily due to the challenges of change and taking steps back from technology that can get in the way of fun. 

The VERDICT: 

Ron’s Gone Wrong may not be the movie of the year for Academy Awards compared to movies like Soul.  Yet this movie should not be ignored or destroyed because it does not go down the “progressive” or unique edge in terms of what Disney can do.  However, the movie has a lot of heart to it, really exploring avenues that socially awkward people like myself can learn, take comfort in, and hopefully get some lessons to others for surviving in this world.  I loved the buddy comedy, had a blast with the pacing and design, and really felt some great moments in the story piece of the film.  True, there are plot gaps and predictability, and the character usage is a bit lacking, leaning towards woke symbolism and hyperbole than true integration.  In addition, there are also some heavy handed preaching components that my generation and onward may be turned off on given the approach to life we take.  Yet, Ron’s journey is a lot of fun, and really does a nice job of walking a balanced line of fun, story, and lessons that I really think is not being represented in the advertising and reviews.  Thus, this movie I encourage people to take a look at and potentially be surprised and entertained like I was.  My scores for this film are: 

Animated/Adventure/Comedy:  8.0

Movie Overall:  7.0

A Desert Of Drama, Story, and Visual Wonder: A Fantastic Cinema Piece

            Dune, a book series with lots of time, details, and world building that has immersed people into the politics of space for years.  While well-known and out for several decades, the series is a bit on the backburner given the plethora of stories flooding the market, while the movie has settled into a “masterpiece” that is starting to get more appreciation and interest, it still has not pulled everyone back into the appreciation of the stories.  This weekend, the modern era attempts to bring the new age back into the world, and it has a lot of hype.  Will the interstellar, cosmic voyage really be the Star Wars meets Lord Of The Rings as portrayed, or is it just another overdone remake of a series best left to the written word.  Let’s get started!

Movie: Dune (2021) 

Platform: HBOMax

• Director

• Denis Villeneuve

• Writers

• Jon Spaihts(screenplay by)
  • Denis Villeneuve(screenplay by)
  • Eric Roth(screenplay by)

• Stars

• Timothée Chalamet
  • Rebecca Ferguson
  • Zendaya

LIKES:

The Pacing is Not Bad (most of the time)

A big surprise to me, this political thriller surprisingly moves at a decent pace despite everything it is introducing in the dense piece of literature it’s based on.  The establishment of the factions, the shots of the world, and getting to the planet are done in a very balanced manner, that allows enough time for you to get to know the characters, without being stuck on something for too long. Villeneuve and his writers managed to adapt the dense material of Science Fiction into a version for a lot of audiences and keep that balanced speed pretty much up to the last fifteen to twenty-five minutes of the film.  A challenge that many fail in this day and age.  

The World Building:

I have not read the books, yet, but I’ve understood from others how much world building and development this series thrives on for being entertaining to the masses.  Villeneuve and his cohorts achieve this mark for me, bringing out an amazing world developing experience in the visuals, the storytelling, and costumes that fill your screen for the nearly three hour run time.  It’s not just fleeting shots of ships, planets, and frontiers as some choose to do for time and budget. No, this particular installment takes the strengths of the modern era, and gives you plenty of time with the galaxy built by the author years ago. You’ll get plenty of legend to the things dwelling on the planets, the evil nature of the mankind in the empires, to the legends and theology everyone follows.  Where many books lose the translation of this for favor of keeping to a time, Dune makes sure to explore the facets and try to bait you into falling more into the lore of the movie.  It’s one of the strongest features of the film, and in true political thriller fashion, has those devilish details that pulled fans into nearly 8 seasons of debauchery.  

The Visuals/Cinematography

Dune is a movie that does not have the cheeriest of demeanors and it does not try to portray that in any light.  Fortunately, a strong visual element will assist with this theme, utilizing fantastic visual style to convey so much the film is trying to tell you that may have been lost in the previous saga.  The grey and ashen filters add an immersive element to the mix, helping you to feel the grit and grime of the desert planet Arrakis, and how harsh the landscape is.  Wide angle shots and use of good CGI, show proportions of ships and landmarks to the small humans who crawl around them like ants.  And the dynamic use of the camera, finding every shot to really give you the moment of the scene and have you feel the emotional kick.  Those who say that this movie is indeed a cinematic masterpiece, aren’t wrong when it comes to the visuals, and like HBO, has found the way to wrap you into the world and get you integrated into the movie even further.   Even seeing the scale of the sandworms and what they can damage is brought to life, that visuals in the past could not copy given they did not exist.  

The Costumes: 

Characters can be brought to life by actors, but the costumes have a part to play in the experience as well.  Dune’s group gets points for the incredible designs that truly give the blend of the Medieval with the Science Fiction.  The regal fashions of one culture have layers of style that, like us humans, vary depending on the ceremony and situation they are in.  Soldier uniforms hold similarities for warfare and terrain, but yet have their own markings and symbols to represent culture and stand out.  On Dune, outfits change in order to adapt to the climate and represent their own cultures embodied in the Fremen culture.  Those attention to details can be lost, but for me, it’s a vital element to the world building they are vying for and helping to again make this fiction become reality. 

The Story: 

I have to give them props, because all these elements due make an immersive story that HBO and Walking Dead held long ago.  Dune’s story has many elements done in a well-balanced manner, helping to give story guys like me elements to latch onto to help mitigate the other elements I do not find as entertaining.  You want drama involving factions trying to stab others in the back and formation of shaky alliances?  Dune is engorged with these elements.  Need some type of mystical mystery and legendary prophecy made famous in Anime and Hollywood?  Dune’s got that to a degree to help layer a character.  Want the venture into the unknown and attempts to travel a harsh landscape of life in more ways than one?  Again, you’ve got that in spades, alongside hints of other elements that make gigantic worlds that book series like this thrive in.  It’s layered, it’s got character development, and it’s all laced with intrigue and a pace to keep you immersed into finding the end of this very bizarre rabbit hole. 

The Acting: 

I’m not going to make a full article on this, but Dune’s star studded cast accomplishes a lot in this film.  Under solid direction and the natural talent, these characters are really captured with performances that are layered, complex and true to the heart of the character descriptions.  Chalamet’s quiet intensity and fear hit home in his convoluted political status.  Ferguson’s strong confidence, poise, and mystery are layered in a very solid character performance, that is balanced between seductive Lady of the regime and deadly deceitful background we want to know more about.  Oscar Isaacs holds the regal approach very well, bringing elements of Poe into the head of household that is not too bad, while Momoa is still the warrior bred vigilante he’s made famous in about every role he has been in.  Everyone else has done a great job, but more to write.  

DISLIKES: 

The Pacing At Times:  

The movie does a great job with much of the pacing as I mentioned earlier, but there are times where like a video game racing, you get hit by the shell and spin out.  For Dune, those moments for me involved Chalamet character’s “unique” moments, something I can’t go into too much detail to avoid spoilers.  In these moments, the artistic side comes out, providing some dives into the events that are sometimes a bit off place and too frequent for a movie and better at home in a book.  These moments sometimes are time beautifully, but other times are just extra details I did not need to see in such detail to bloat the already high run time.  The only other area I had issues with, was the ending, where the cut off moment for the next part, starts to really wind down and drag in an effort to squeeze out that last bit of info to tease you.  They are not the worst moments I’ve ever faced, but they were noticeable.  

The Ending:  

It’s not very well warranted in the trailers, but this is a Part 1 story, and fans of the original who were given the whole tale in a shorter time may be surprised by the opening title.  Again, the details are nice, and the world building is incredible, but I might have advertised this was only one part of the tale might have lessened the blow.  For the most part, this part thing is not a big issue, except for me the cutoff point could have been 15-20 minutes earlier and I would have felt it ended on a better cliff hanger without the extra drag.  That’s really all I have to say, because though a big lagging, it does keep to the quality of the rest of the film. 

Darker Visuals Get In the Way:

This element that is so engaging, is also a big limitation depending on your home set up.  In the theater, this won’t be an issue at all, hence why it should be watched in the big screen, but for those without the properly lit set up, this can be a burden.  I checked it at home and my television reflected a lot of light that sometimes overtook the scenes in the dark, so caution in making sure the room is as glare free as possible.  Dune’s dark visuals are mostly needed, but I’ll admit a little tempering for homes could have made things a little less dependent on the lighting. 

The Sound Editing: 

For the big screen, I don’t think it’s going to be an issue, but for home, you’ll be doing the old volume up and down trick given the fluctuations between types of scenes.  Some of the conversation moments are whispers and mumbles, only to be bombarded by the “action” scenes later in the movie.  Is this like Tenet?  Not really, but some extra caution noted to remain manageable. 

Unexplained Storytelling Elements:

While much of the movie is explained and laid out, I agree with others that there is still some elements brought out and barely explained.  Villeneuve is known to take liberties sometimes to tell a story, and those who appreciate subtle hints and letting a shot tell the bulk rather than an exhibition with concrete explanations, is bad at times.  Primarily with some of Chalamet’s qualities, alongside some of the technology and history, these elements ironically could have used some more time and attention to really draw a more complete circle.  Not the worst, but certainly room for improvement, and would try to not be so subtle with key information for the character. 

Zendaya: 

More so the lack of Zendaya.  For someone billed in the top cast, I can’t say that she deserved the merit of the top billed.  When she’s on screen, she’s amazing as she continues to prove, but in this movie, the hype is much more than she actually is.  I’m sure more will come if this Part 2 is made, however don’t get your hopes up for incredible amounts of time on screen in this one.  It’s disappointing given how great she has done her roles for me, so here is hoping for the next part really utilizing her talents next go around.  

The Action: 

Don’t let the trailers fool you, or the genre tags on IMDB.  Dune is not an action series and the hints of things you see are much like what you will get in this movie.  A few passing moments and tech heavy scenes are cool, and there is one or two moments that build some momentum, however they fizzle out quickly, with most not lasting more than three minutes.  The ending gets some things revved up, but the “Star Wars” and “Lord Of The Rings” statements in the trailers are hyperboles, unless you look at the new trilogy Star Wars then we hit closer to home.  While I’m told Dune was never much about action, the modern marketing hints it is and I was not really that impressed outside of the cinematography and scale that Villeneuve does super well to execute.  However, the “climactic” moments are minor for me, and only around hour mark 2 did I get any “suspense”.  It’s very Game Of Thrones for this reviewer, more of the subtle and deceptive motions and key hits, than the dances of choreography that I particularly light in my epic blockbusters.  If that’s the kind of action you want, you are right at home, and it does fit with the themes, but don’t think this is the John Wick, or LOTR battles that we fell in love with years ago. 

The VERDICT: 

            Is Dune the best movie of the year?  Hmmm, not for me, but it’s a fantastic modernization of the legendary picture that will appeal a lot of fans thanks to Game of Thrones.  More like Star Trek and Game Of Thrones fusing together, this spectacle is beautiful across the board for visual storytelling.  It’s beautifully shot, the worlds are crafted, and the experience is there in so many levels, you will feel you are on Arrakis ready to tear into the Dunes.  The characters have much to them, the cultures open up to an immense universe to get lost into, and the acting is magnificent on cylinders to really pull you into the political mess this tale is.  And unlike the previous version, Villeneuve’s tale does allow more exploration and immersion that fans like me love in films.  However, in that regards, the Part 1 approach does cut the tale short, and the pacing and details can be thrown off by the restriction he still puts on this movie.  Certain characters and their more intense details are limited at times, primarily Zendaya, and so you are warned that your favorite actors/actresses are not on screen for much of the time.  Some of the visuals and sound elements fluctuate at times, but the theater will fix this, while the action will be much more limited than the hype the trailers are painting.  Overall, the movie is definitely a great Drama/Space Opera, worthy of the theater to offset the limitations and to get Part 2 earlier will require you heading to the box office.  However, the most epic movie still eludes this reviewer and I would say I’ve seen other movies I’ve found better than this piece.  My scores for the film are:

Action/Drama/Adventure:  8.0

Movie Overall:  7.0

Dueling Stories Make For Unique Dives Into Character, Although Pacing and Content Are A Bit Beheaded.

            Honor, vigilance, your name, and justice, these are the elements that become the center focus of my first review this weekend.  The Medieval time period was one of traditions that to this day seem barbaric and outdated, but have merely transformed into a new visage to which we base a lot of decisions on.  Tonight’s film dives back into that world, assessing the accounts of a supposed famous case about rape and testifying to prove the case, where if one fails faces much dire consequences than what we face today.  Is this latest Drama by iconic director Ridley Scott have the merit to prove one of the best films of all time, or are we merely treated to another big budget, bloated film that will be lost to the meanderings of the flood of films?   Robbie K taking a look at the latest film entitled:

Movie: Last Duel (2021)

• Director

• Ridley Scott

• Writers

• Nicole Holofcener(screenplay by)
  • Ben Affleck(screenplay by)
  • Matt Damon(screenplay by)

• Stars

• Matt Damon
  • Adam Driver
  • Jodie Comer

LIKES:

The Setting:  

For reviewers and audience members like me, being pulled into a world makes the experience, and the Last Duel has accomplished this very well.  Like Game Of Thrones, the studio has pulled us into the time of the European conquests, where countries and lands switched alliances in the name of greed, power, and entitlement that we’ve seen time and time again.  Misty forests, and wide fields culminate in the feeling of vastness of the world prior to modernization, as one traveled between havens of castles and forts for celebrations.  Within these walls, the dark and hallowed halls are authentic, creating these immense fortresses that hold much with the walls and courtyards.  All the subtle nuances of lighting via flickering flame, the echoes of the halls, and the details of changing certain room to please the owner’s needs are here, and you really feel pulled back in time. 

The Costumes/Hair Styles: 

Another thing often taken for granted, this Oscar category is thriving strong in this film, as patrons of the lands of Normandy and France show up in full spectacle that represent the times so well for a reviewer like me.  The military moments have highly detailed armor choices, allowing fighters of the battle to stand out on sides with changes to hats and plating, while adding splotches of color that aren’t too cartoony or out of place.  These armor choices do evolve depending on the nature of the battle, and I give them props for their engineering.  However, it’s really the common dress up that we see in the film that holds the regality and essence of the movie, which is about social status and the importance of appearance.  The Last Duel is filled with the styles and “uniforms” of the class system of the days, with many styles sewn in to inspire, allure, and show off the characters in the movie.  These garments are properly placed depending on the nature of the character’s involvement in the scenes, and seeing body changes have to be adapted for the dress to fit were details I appreciated and felt stuck to a theme of the movie. 

The Cinematography: 

It’s beautiful to say the least, with great use of lighting and filters to bring about the moods of each scene.  Battle scenes are engaging and ever changing to really draw you into the fight, with many angles capture at just the right approach to really draw out the emotions of the scene.  Meanwhile, the more dramatic moments find blend plenty of dynamics together to draw out the scenes and give you the full emotions of that moment and the stakes that they hold.  The fervor of the scribe who is being abused, or the pain of the person as they are berated for their thoughts are all beautifully stacked and layered from the camera work and really get you into this dramatic tale. 

Dialogue: 

It’s a movie that holds a lot of talking and character development, meaning that the words need to evolve past the common dialogue found on social media and comedy films.  The Last Duel has some amazing words lining the page, using the poetic descriptions famous for these time period pieces that blend metaphor and “common” tongue into a fluid ballad of deeper tones.  It paints the pictures of the feelings of all those involved, being used as a weapon to cut deep into the pride and “honor” of characters who hold those qualities close to heart.  The deep dialogue is certainly a meat of the movie that you will either hate or love, but for me, this film does not get so lost in the dialogue to have you scratching your head like reading Shakespeare in high school. 

The Story Telling: 

This dark tale stands out from other drams, due to the presentation of what is a common tale in this day and age.  It’s not just because it occurs in the Medieval time period, but more so in the way Scott and his team told the tale in the chapter approach.  Each of the chapters in the Last Duel comes from the perspective of the person involved in the act, with the same tale being told, but getting those added nuances and beliefs by the storyteller about what they believed occurred.  Seeing those subtle differences and getting to see their actions during the time period was a genius move that does not rub stuff in your face, and ending at the same point helped build up to the titular duel to come.  

The Action:

Believe it or not, this movie does have action outside of the trailer’s fight and at times it is rather impressive.  Scott and his team give you representative battles of the time period, combining swarm moments with personalized action, to combine into a fight that had some character behind it.  A little violent sure, but Scott’s handling of these moments gave use enough break from the drama to wake up, but never detracting too much to lose grip of the story.  When the final sequence occurs, Scott extends the chaos of the battlefield into one duel, and it is a splendid dance of word and blade that last about 16 minutes by my watch.  It holds the spirt of the entire movie and puts a fitting and exciting conclusion that has you wondering who will stand and who will fall, unless you know history.  

The Acting: 

Hands down, this highly character centered piece requires good acting and this may be the strongest piece of the film.  Damon is a wonderful opening chapter for the film, and his time as a squire is filled with moments of hurt, betrayal, and fury that he plays so well.  Similar to other roles I have seen him in, that control of letting the emotions out in the right amount at the right time cannot be understated for me in this film.  His engagement in the facets of the knightlihood actions, and how he processes all the pressure of the time are incredible and I loved how much he was pulled into the film to challenge that dynamic.  Adam Driver, well the man continues to blow my mind with how elegant his skills can deliver on a character.  More aristocratic in nature, Driver brings more of the poetry and nobility language that paints a rivalry between the two nights.  His delivery of the language is much tighter than Damon’s, and his outrage is more focused to again show the approaches to the lifestyle of the time periods.  Ben Affleck does very well with his role as the arrogant Lord of the Land, his delivery holds more of the nobility debauchery and corruption of the land, but works well with his sinful delivery of the dialogue.  The champion though, was the Jodie Comer, who once again delivered a role I enjoyed despite the harder scenes to watch.  Comer holds so much elegance as a noble lady, only to then see her spirit come out during her side of the tale in the actions she did for her estate.  When the emotional moments came up, she stacked her emotions to gradually pour out, from hurt betrayal to full on hysterics depending on the scene.  She was elegant in her delivery, yet new when to lose that elegance to make a point and that control and depth, alongside the darker moments she had to bear, continues to display the talent and promise she has.  

DISLIKES:

The Pacing: 

I agree with my fellow reviewers that the movie loses its stride as the first hour fades, becoming a bit of an uneven mess that loses the power of the first act.  A strong opening act starts to wind down int eh second and the third, and it’s only the promise of the duel and the outcome that gets you to stay.  This uneven pace mixed with the longer run time, can make it difficult and if you don’t have the energy, the quieter moments can lead you to falling asleep, but if you can make it to the end you’ll be rewarded. 

The Animal cruelty: 

The Last Duel does not venture into the territory of unnecessary torture of animals, but it does have some graphic displays that were painful for me to watch.  I’m not a fan of seeing graphic shots of animals suffering or their corpses, so I can’t say this was my favorite aspect.  Yes, it’s realistic and keeps in theme with the rest of the film, but for people like me, it can be a little somber to watch. 

The Sexual Moments:

Yeah, if you’ve read my reviews, the sexual moments are already not as enjoyable for me to watch if they offer little to the story.  While the debauchery does show the characters of some of our casts and how one entertained oneself in old times, much of it got a little too visual for me.  Seeing lots of the acts in the manner we see can be a bit hard to watch as well, especially seeing the more aggressive and illegal acts unfold that can be hard for those with PTSD.  Applauded to the actors for making it come to life, but I’m still not the biggest fan of seeing forced love making multiple times when I get the picture the first time. 

The Presentation:

Ironically, as much as I love the three perspectives, I can’t say that it did not have it’s own weaknesses with the presentation.  The three acts will give you the perspectives of all three and allow one to appreciate how stories fluctuate depending on the mind of the teller.  However, seeing many of the same scenes again and again starts to lose the fervor and become boring given how little is added.  Fortunately, there are other scenes happening around the moment that help relieve the boredom, but still seeing many of the same scenes occur with little action moments to again break up the drama was not the best choice for me and a more linear tale would have escaped this flaw. 

The VERDICT:

  

The Last Duel is a splendid example of cinematography storytelling for a very sensitive subject.  Ridley Scott immerses you into the setting with visuals, clothing, and setting that will haul your butt into the Medieval time period and settle you into the politics of the movie and the subject matter.  Fantastic writing feels authentic to the world of yore, and enriches the dramatic moments with a life that would otherwise be a bit dull, while action scenes contain all the splendid details to drop you into the carnage the world once faced.  Yet the acting alongside the presentation are the solid points for the movie, with a cast who really does make such a dark subject tolerable and engaging, while also illustrating the flaws vanity can bring and how there are multiple sides of the story.  Yet, the movie is not for those who get constant excitement in their films, as the pacing is off after about the first hour, which for a 2.5 hour movie is saying something.  Mix in the darker elements that can be a bit much at times, alongside needing some action to break up the monotony of the film.  And while the presentation is unique and artistic, it also is a big limitation because of how bland the same scenes become when little is added to them.  Overall, the movie scores a worthy of theater vibe for me and I recommend a watch if you get the time. 

My scores are: 

Action/Drama/History:  8.0

Movie Overall:  7.5

This Halloween Kills The Thriller/Chills/Horror Elements, but Keeps to Slasher Roots

Halloween, a holiday that hold much potential for humans every year in terms of costumes, parties, festivities and of course… movies.  The famous horror franchise named after the holiday is one of those traditions for viewers to dive into, though the quality of the movies is a little less welcomed than other legendary spooky films.  Michael Meyers dive into destruction and death was alluring to so many and created a monster that to this day is still much appreciated as the authentic Boogeyman that plagues our nightmares.  So much so, that we got a reboot and this weekend a sequel to that remake.  Will the anticipated continuation of the reset to the timeline shine on as well as the predecessor, or are we falling victim to the horror sequel and the cheap theatrics.  Robbie K sharing thoughts as he dives into:  

Movie: Halloween Kills (2021) 

• Director

• David Gordon Green

• Writers

• John Carpenter(based on characters created by)
  • Debra Hill(based on characters created by)
  • Scott Teems

• Stars

• Jamie Lee Curtis
  • Judy Greer
  • Andi Matichak

LIKES: 

The Nostalgia Factor:

The opening of the film takes us back to the night that started it all, and it’s a wonderful recreation to sort of whet the appetite and explain the ties some of the characters of this film.  That opening is only a superficial intro to all the nostalgia factors that they loaded in the movie, working towards the goal of baiting you back into the fanbase and generating more cash for the film.  That nostalgia factor is fun to look out for, finding relics to the movies now alternated to non-canon, and is fun for rewatches to see what you can find. 

Pace: 

The movie does not take long to dive into the antics you love about Halloween, establishing the terror and killing that Meyers is known for.  Once the opening number finishes, the chaos of the Boogeyman begins to unleash itself upon the town at breakneck speed and seldom deviates from the formula.  Those who don’t need complex tales and character moments, have nothing to fear past the first act, because there is plenty of the flash in the pot moments to get you ingrained. 

The Multiple Aspects:

This “killer” flick, goes down the formula of multiple mini tales moving in sync with the serial killer combining them all and it works pretty well to keep things lively.  This sequel is all about bouncing between the groups out on Halloween night, and trying to do its own brand of representation in between the groups scattered around the Indianapolis town.  You’ll find your favorite collection to follow, and waiting to see which ones will fail and which ones will triumph.  It keeps the feeling of the hunt at large and helps integrate all the players without losing much traction, so kudos for that approach. 

The Music: 

I love the soundtrack for the series and the haunting scores designed for this film and the chilling feeling you get from it.  The familiar techno piano track welcoming you into the night of terror is of course the star, but there are other scores that are as deep and haunting to sell the tone of terror and remorse that comes with those scenes.  It’s a subtle feature that works so well, and should call the fans of the series into the experience even more.

The Acting:

For what it’s worth, the acting gets props for the characters put into this film.  The leads do a fine job with what they are given, selling the terror, the frustration and the antics that are at large.  All the single minded and simplistic characters have their moments brought out in full swing and you can appreciate them selling the cheesy lines and dialogue these movie are made famous for.  Many of them look to be having fun, and there are moments where we dive into deeper character waters and pull some of the layers that the original series held.  As for the screaming and dying aspect, yeah, most of the cast has that down and reacts quite well to the fictious mauling they receive.  

The Killings: 

Let’s face it, you are coming in for the thrills, chills, and kills that this series is famous for and no surprise, the title tells you what’s in store.  Meyers carnage is bloodier than ever, and ready to give you that taste of carnage that we all seem to love in this series.  You’ve already seen an opening moment from the trailers, but again it’s merely a scratch to the crazy, hyperbolic death montages that will arrive.  With the sensitivity down in this age, the amount of blood and graphics have escalated to give you the same vibes the reboot movie did.  There are some clever moments to the carnage, and a new edge that puts the killer nature into a new light that shows just how much influence these killers have on the world.  It’s definitely the highest point of the film and for fans of the series the ultimate line to reel you into the film.  

DISLIKES:

The Plot:

Actually the lack of plot is better, because unlike the first saga of this movie, the plot is surprisingly stretched and weak compared to other installments.  Halloween Kills goes more into the carnage row than the plot we’ve grown accustomed to and tries a symbolic approach instead of the usual threadbare storyline.  There is little character development to be pulled in, little story to uncovering more of Michael and how to stop him, and lacking some of those connections the original series, or the predecessor held.  It’s a bit disappointing to be honest, but it works with what it can do given the focus on the kills.  

The Stupidity Of the Characters: 

I’m not saying they’ve been the brightest bunch of bulbs in the past, but this film really dumbed down the characters logic to the point of absurdity to make them cannon fodder.  Sure there is some ability in some of them, but the rest are just mindless extras that did little to impress compared to the top films is sad to see diluted in the modern era.  

The Acting/Characters: 

While never expected to be Oscar worthy, I can’t say that the performances were nearly as strong as they were in the last reboot.  Once more, the movie dilutes the quality acting and gives us these lamer characters to portray, with dialog that does little but to impress teenagers into being tough and foregoing logic.  I know, you are really looking more for victims, but some of the bit to the originals comes from the fact of them having a surviving chance and requiring some level of strategy and surprise to kill them.  However, the acting is simplistic, and a bit overacted, with little control and balance to characters that make that difficult to achieve.  It’s not my favorite group to come in and there are roles that need a little tweaking at times to be honest.  

Lacking Suspense/Scares:

The movie franchise for horror has to work a lot to make me jump due to my desensitization of the franchise, but in this case it was very anticlimactic.  Slasher films seldom have the strategy and smarts, but in the past there was at least some suspense and fun to be had for who would survive the ordeal.  In Halloween Kills though, much of the group is easy to predict, and combined with the lack of intelligence in the characters, that goes up in flames.  A step back into the art of slasher films could really help this series and straying from the artistic/moral driven moments that do little to elevate the scene.  Speaking of which: 

The New Angle on Horror: 

Yep, in an age where we have to put a lot of politics into the film, not even the cheesy slasher movie can escape the new age of driving a point into your brain the way Michael drives a knife into the victim.  Halloween kills detracts from the sole slasher and decides to instill an artistic lesson into the movie and paint a new terror.  Relevant?  Absolutely, but in a film like this, making a gigantic third of the movie to detract from Michael and try to humanize him is not the direction the film needed to go.  It does little to add to the selling points of the movie, and in all honesty could have been done much better than the in your face components we got.  As the “force” spreads, that motif bleeds into a new approach to facing Michael, and again does little in the grand scheme of things than bloat the movie’s run time.  

Jamie Lee Curtis’ waste:

Understanding she is not the spry individual she used to be, Halloween at least gave her character a new run and involvement in battling Michael to the point of still being the beloved heroine we loved.  In this case though… nothing, reducing the woman to a logical, monologue toting speech maker that really does little in the tale.  There are attempts at story, attempts to dive deeper into the psyche of the woman who has hit so much, and that is fine and dandy.  However, her involvement is sort of tangential, and seeing the spearpoint dulled was not the way to go to this movie given the synopsis, the previous movie, and the potential she could have brought.  It was the most disappointing factor of the movie for me, and though realistic given the small time lapse… it’s not the direction fans will go for.  

The VERDICT: 

Halloween Kills is not the awful, cantankerous movie some call it, because it still has elements that make the series the same “loveable” cult following it always has.  It’s fast, it’s simple, and it’s loaded with the gory and cheesy kills that made this franchise the legendary horror it always totes.  Michael’s latest adventure has those elements that are just alluring enough to come in and stay, with the finish that this adventure started long ago.  However, the movie has lost a lot of the other tropes that made the installments more of an exciting adventure that we got immersed into.  A story that does little to elevate things, alongside characters that are one dimensional and boring are really poor choices for keeping me int eh series, especially lacking some of the smarts and bravado that made the early ones much better to watch for me.  Throw in trying to tie a new angle to the mix, and dropping Jamie Lee from the main works, is something that was very disappointing in terms of suspense.  The movie is just a fun gore fest, but in terms of the elements of suspense and horror, it’s a bit of a dud in those regards for yours truly.  Overall, the movie is fine, but given they offered it on Peacock, the quality mirrors the streaming platform for yours truly.  

My scores are:  

Horror/Thriller:  6.0

Movie Overall:  4.5-5.0

No Time To Blink: A Lot Of Elements In Craig’s Fifth Film

            England’s most lethal weapon returns for a fifth run this weekend, and he is hoping to unleash the biggest spectacle of the five part series.  James Bond’s journey has been an interesting one, with so many actors, restarts, and iterations to make his mark over the decades for just about every age group.  And despite the mixed reviews of the current series, alongside the politics, the fifth movie is hoping to be the major mark to seal Craig’s journey in this role, assuming they don’t renew the contract again.  Will this mission be a success, or are we once again let down from the anticipation.  Robbie K coming at you with yet another review a she reviews:  

Movie:  No Time To Die (2021)

• Director

• Cary Joji Fukunaga

• Writers

• Neal Purvis(screenplay by)
  • Robert Wade(screenplay by)
  • Cary Joji Fukunaga(screenplay by)

• Stars

• Daniel Craig
  • Ana de Armas
  • Rami Malek

LIKES: 

Great Opening: 

Bond movies often start with action that is primarily meant to get you wrapped into the movie with big bangs. However, this Bond takes things differently and helps add to the story and continuation from the last film.  The opening starts laying down the framework quite well, alongside some foreshadowing, and adds the personal character quality Bond films sometimes lack.  Throw in the artistic Bond songs that Craig’s legacy is accompanied by and it’s a promising start to the film. 

Emotional/Character Driven: 

Craig’s movies have held a lot more personal connections with his Bond than others I have seen (though I have many to still watch), and this film was certainly a lot more charged on character development.  The alliances, friendships, and rivalries go rather deep in the film and seeing them tested added more layers past the usual sleeping/shooting/spying elements that Bond is famous for displaying.  Though a little overdramatic at times, this extension of character was nice to have in this movie and helped up some of the stakes in the movie, always a nice way to get engaged.  

The Costumes/Setting:

Bond is the international man of mystery and that often means exotic locations, interesting settings, and glorious costumes to bring the poise that Bond holds.  No Time To Die continues the trend of immersing you in the spy business by taking us across the globe and getting a very small taste of the culture and beauty.  Some of these settings are breathtaking venues, outside in the natural splendor of the countryside and towns.  Others, are your typical strongholds for the Bond villain, the battlegrounds for spy vs. terrorist to match wits and bravado.  They all felt very Bond to me, and once populated with the extras, only further helped immerse us into the high class world of Bond.  The dresses and tuxes were stunning as ever when they emerged, and seeing some of the cool spyware to decorate Bond’s action suit were always fun to relive in seeing what the creative minds crafted this time.  

The Action: 

This Bond is not the most action packed of the Craig films, but when the action does come up, it is quite satisfying at times.  There are at least two battles from this movie that stick in my mind, both getting the blood pumping with the choreography designed.  One is an awesome display of Bond’s skills vs. the lackeys of the bad guy and the impressive gun toting the license to kill brings with it.  My favorite one though, is the second battle of the film, which held a lot of spectacle, plenty of character involvement, and even some comedy twisted into the mix.  Bond does not elevate the action too far past the limits of the spy game and keeps it familiar with the physics of the world, which should please many. It’s spaced out decently as well to keep things interesting as well, with little interruption in the plot or character development, which is an extra victory for me. 

The Acting: 

The strongest aspect of the movie for me, the acting is fantastically smooth as the shifting into gears Bond seems to have with driving his cars.  Craig’s portrayal of the spy is amazing as always, with the look, attitude, and bravado needed to take on the world.  In this film, the emotional side of him comes out a little more, and much like The Girl With the Dragon Tattoo, he does a nice job of bringing those emotions out without treading too far into one dimensional portrayal.  His performance was believable, he seemed to blend well with all the characters and had a natural chemistry with each person he interacted with.  As for Ana De Armas, the knockout look of a Bond girl was amazing on her, and the dress she wore complimented her beauty in a natural way.  Yet, the woman has got some incredible moves and the attitude of an agent, with great action sequences that show promise for her in future roles.  But her comedy style works very well int his movie, edging into the role very calmly and amplifying a role I wanted to see more of, but thoroughly enjoyed the time I got with her.  As for Malek, the man continues to flex his acting muscles and hit the villain role decently well.  Malek’s approach worked for this Bond villain, an uncomfortable edge that was one part horrifying and one party mastermind to push the events of the movie along.  His monologues are executed with theater like quality, and he seems to be living the words that he is testing Bond’s mind with and I loved the nonverbal acting he used to support it.  Lea Seydoux hit the lead Bond girl role super well, a combination of brains, character moments, and beauty that really painted a wonderful character to share the story with.  Everyone else did a great job, but I need to move on to the rest of the reviews.  

DISLIKES: 

A Little More Action:
I won’t lie, I would have liked a few more action scenes like what I got in the second fight, with coordination and intensity that had me on the edge of my seat.  Sadly, some of the other bouts are short lived fights on wheels that have some impressive stunts, but get a little carbon copy for my tastes for necessary action.  Even the last part of the movie needed some extra flair for me, primarily in using other characters in the mission then just Bond alone.  

More use of Paloma and The Other Agent:

One of the biggest things I wanted was for use of the other characters past talking roles, or at least involving them in more scenes throughout the movie.  The thing about No Time To Die, is that several characters felt underutilized for me and had so much to offer.  Ana De Armas is one of those characters, whose talents and mystery could have really helped the rest of the movie in pacing, comedy, and maybe a few different aids to assist with finding clues to the mystery.  Lashana Lynch as Naomi, was also needed more for me, especially when I got to see the rivalry between James and her.  She’s got a set of moves of her own as well, and I can’t lie and say I would have liked to see her get her hands dirtier as well and show off the gadgets and guns that the agency gave her.  

More Gadgets; 

This Bond series seems to have forfeited the gadgets that made the series famous years ago.  No Time To Die has a small arsenal of unique tools designed by Q, but the imagination for bringing gizmos to further help our spy get out of sticky situations is slim pickings.  This Q may be funny and a genius, but he certainly does not have the same ingenuity that his previous iterations held long ago.  

Predictable Story: 

If you know the backstory of this current Bond franchise, then you should know how the story is going to go from all the foreshadowing they give in the first thirty minutes.  No Time To Die has plenty of bread crumbs to follow and give you the ending way before the 2.5 hour run time is complete.  Though there are a few twists to try and sweeten the deal, the movie does not quite have the same punch or surprise it once had when these ideas were fresher.  Regardless, the movie is enjoyable despite the predictable twist, which is why this is only a minor twist to say the least. 

A Lot Of Stories Crammed Into One:  

As I said earlier, the current Bond’s story is a lot thicker than the other tales I’ve seen in my Bond viewings.  I’ve enjoyed the deeper tale, mystery and connections to him and each chapter has managed to add a fitting piece of the puzzle to help elaborate more to the history of England’s finest.  However, in this film, a lot of those elements were getting put back in, attempting to answer the lingering questions and push the character development for the agent.  I’d say they did a nice job on some of the plot elements, but others felt a little forced in, side paths that offered some clues to the overall mission that made them needed, but not up to the same skills as other elements were.  A novelization of this movie might better explore those concepts, but from a strict movie standard, the multitude of ideas feels a little too much to address all avenues to the full extent they needed.  I can’t say more without spoilers, so I’m moving on to my biggest dislike of the movie… the villains.  

The Villains:  

Rami Malek is so good in his performance and delivered big time on the role of the egotistical villain who was lost in his own views of the world.  However, he’s also the villain whose direction was not my favorite compared to some of the others we’ve seen in this branch.  Unlike the mysterious man behind the mask approach I thought we were going to get, Safin’s role is primarily monologues and that awkward way of phrasing that gets under your skin.  Yet unlike villains like Jaws, Goldfinger, or even Mr. White, he does not offer more than that and it makes for a somewhat boring villain give again the potential he held from the beginning.  My preference of Bond villains, are those that hold those factors that stand out, or are a true threat to not be crossed lightly or you pay the consequences.  Sure there are minions as well, but even these guys feel a bit wasted, simplistic, and forgettable in the long line of Bond henchmen.  Fortunately, the story elements merge well with this style of villain to assist with the lackluster antagonists, but given the earlier part of the franchise, I’d expected more for Malek’s caliber of acting to raise up. 

The VERDICT: 

Of the five bond films in this actor’s repertoire, No Time To Die is probably the middle of the films for this reviewer.  It’s a good movie for me, filled with some form fitting action, fantastic look and Bond feels, and characters that have a lot more layers than previous incarnations I have seen.  Acting wise it is solid and drama wise, it works super well with touching on the story element of her majesty’s most lethal weapon.  However, this installment still does not quite hit all the boxes of Bond quality that others have, primarily due to how much is trying to be integrated into this final film.  Small things like the predictability of the story or limited gadgets/Bond mode guns are a tad limiting, but it primarily has to do with the story and character usage for me in this film.  My favorite characters with blended comedy, action, and acting are sort of sidelined, and the villains are not the most impressive compared to the champions of the MI-6 legacy.  In addition, the story both works and is a bit busier than I had hoped, almost needing more time to adequately finish those moments they touched on.  Still given special effects, pacing, and story, this reviewer encourages a theater watch for No Time To Die and certainly adding to this to the library later down the road.  

My scores are: 

Action/Adventure/Thriller:  7.5 – 8.0

Movie Overall:  7.0 

The Second Installment is Addam Fun Film, But Still Needs Work In “Executing” The Story

The creepy and kooky family is back this weekend, in hopes of breaking in the Halloween season with a cute and fun time.  Our first outing with the computer animated remake was a fun spin that held plenty of homages to the classic franchise.  It was cute, had some good morals built into the lines, which was perfect for the younger audience members.  A sequel was not something I expected given the box office, but here we are trying to push past COVID and get another shot at winning modern audiences.  A second movie often fails to live up to expectations, but you never know what will happen in the hands of a directors.  Thus, Robbie K is diving into the next movie review as he takes a look at:

Movie:  The Addams Family 2

Platform:  Lots of streaming and theater

• Directors

• Greg Tiernan
  • Conrad Vernon

• Writers

• Dan Hernandez(screenplay by)
  • Benji Samit(screenplay by)
  • Ben Queen(screenplay)

• Stars

• Oscar Isaac(voice)
  • Charlize Theron(voice)
  • Chloë Grace Moretz(voice)

LIKES:

Animation is Good:

It’s no Pixar or Walt Disney Studios, but the MGM studios has prepared a delightful adventure that moves fluidly, has that same quirky design, and is just a fun adventure to say the least.  Despite the gruesome nature of the ghouls of this family, the animation is welcoming for all ages, dark enough to be enjoyed by fans of upper years, but still appropriate for the children of the group.  The caricature nature of it has a certain charm to it, and the fact the fluid nature adds whimsy to it and does it so clean and fluid makes for a nice alternative to the bigger studios.  

Voice Acting:

Much like the first film, I think the vocal performances are fine for the most part in this movie, still living true to the characters without coming off too stiff or one dimensional.  Isaac’s lead as Gomez is a nice mimicry of the classic roles, loud, boisterous, but still concerning and touching when called for.  Charlize Theron is ready to bring the same poise and prim nature of Morticia that oozes the finesse of the lead female role, but again adds a slight layer of touching warmth that this installment calls for in the deeper lessons.  Chloe Grace Moretz does a fantastic job with the monotone, depressed voice of Wednesday, delivering the sort of desolate and cold performance that was made famous year ago.   It’s that dark sass and grim outlook that sells the character’s darker comedy, and she continues to pull it off quite well.  Nick Kroll as well gets a nod for the imbecile of Fester.  Though not the spirited performances of the past, he still captures the naïve idiocy of the Uncle, with that same charm and fun that all renditions have held long ago.  I liked the expanded performance he brought in this film, that still kept to the roots, but also allowed new territory to be explored with this particular installment.  

The Better Character Utilization: 

Again, it’s not the show or the Family Values we got long ago, but this second installment for this reboot did a much better job using most of its characters in a deep manor.  Gomez’s approach to new avenues of parenthood were better designed to show the care for his family’s well-being.  Morticia still took a large amount of the show, but again held elements that were charming, fun, and still true to the character’s usual elegance.  Wednesday got a much larger role, and past the typical bullying of Pugsley, actually had a little more sentiment behind it despite what the girl normally does.  She was certainly the centerpiece, but it worked super well with the elements and I liked seeing the story take a closer look at what lies beneath the shell.  Fester, Pugsley, Thing, and even Lurch were all given some expansion as well, and though still not taking the center stage, held a purpose and some great scenes that I think wins a nod of approval from me.  As for Cousin It, much better use in this film, which though primarily laugh factor and merchandizing… still was enjoyable for me. 

The Comedy Mixture:

True, this Addams family is geared to a much younger audience in humor with farting, slapstick, and plenty of stupid moments that they will want to watch again and again.  However, there is still plenty of clever wit to the film if you keep your eyes open, including references to several quirks and tropes in the modern day.  Pokes at the internet, the obsession with texting, insurance commercials, and even how nonsensical plots can get are just some of the jokes I particularly enjoyed.  This mixture of both simple and complex jokes kept things interesting and fun, avoiding the traps of lazy writing that movies sometimes fall into and skirting the excessive territory quite well.  Again, it is all in good fun and spirit, which I believe kids can handle with ease and grown-ups can stomach.  

The Deeper Morals:

Hands down I enjoyed the story taking a stab at some more grown up story arcs for the movie.  The main story is all about finding oneself and what it means to be a part of a family, something many of us have had to face in a lifetime.  Wednesday’s search for herself ends up bleeding into just about every character, and it was nice to see the chemistry of the family challenged past the typical ghouls in a human world motif.  Pugsley’s story may have been more for comedic purposes, but even there they scratched into a young boy trying to push past his awkwardness and dive into a new, yet familiar, stage of life.  His work with Uncle Fester continues the plot from the first movie, and again expands in both laughs and emotional moments between them.  

DISLIKES: 

Incomplete Story Elements Still:  

Though I enjoyed the new story, and much of the expansion past the static tale of the first rendition, I still kind of felt this sequel did not touch on everything they could have.  Pugsley’s connection with his own parents is a bit limited for my tastes, and it seems like this time he was the afterthought of the family.  Fester’s comedic relief was fun, but his estrangement is still a bit isolating and not nearly as fleshed out as the live action movies we got back in the 90s.  Yet the worst tale was the Grandmother’s side hustle at home, which gets alluded to a few times but stops the roll before the snowball gets too big.  Having those tangents set up a lot of fun jokes to use Bette Midler’s voice talents, but that potential was dropped too quickly and seemed forgotten.  Again, I’m all for creativity and fun, but execute the ordeal if you are going to make it a big point or don’t include it.  

The Bad Guy: 

While he certainly brings that Addams family quality of disturbing bad guys with that twist that is really weird, it still needs some work.  Part of it was trying to make a twist for them to surprise us with, which kind of failed, so I can understand.  However, the movie’s villain needed more screen time and shadowy behavior then what we got with him.  There is a great joke to comment about how little the villain is used, but I for one really wanted to see more planning in his use and the same meticulous infiltration into the family’s gullibility than what we got, which was mainly at the end of the movie.  This would have included some tertiary and secondary characters getting more opportunity to shine and elude the mystery, and offer a chance for some interactions between Fester, Pugsley, and practically anybody else.  

The Ending:  

It’s not how the tale finished that I disliked, but more so just how fast the ending hit.  The second installment takes it’s time and detours to help lay out the story and build up the obstacles to the family, only to have it all hit the ending too quickly.  As I said in the villain section, there was not enough time or challenge by the antagonist to engage us in his threat, or even allow the Addams spirit to push their buttons.  The whole conflict itself is rather simplistic and one sided, lacking the dark charm and finesse the live action movie had for solving the problem.  Ture, it did bring a Fester plot point full circle to which I enjoyed several times, but still there was so much more that could have been done to extend on the fun at hand.  Even the Bette Milder story seems like a tacked on add on, missing a really good closing number to put in a hasty end credits art piece.  

The VERDICT: 

Addams Family 2 turned into a better movie for me than the first attempt at rebooting this series.  I liked how the movie moved so to speak, with fun animation and spirit to help liven up the fun and keep the tale from becoming stagnant.  With better character utilization, mostly, clever jokes for all ages, and a deeper moral themed narrative, it’s got a lot of strengths in the family movie night department, so long as you can take an alternative to Disney.  Still, the movie does have some limitations that still need to be worked out for this reviewer.  Side stories need to be eliminated or utilized better, alongside working on ironing out all creases in the family story line.  I’d have liked to see the villain get more time and involvement with the plot, to help capture the dark and haunting charm this family always has with them.  And more importantly not rush the ending and hastily tie up the tale they are working hard to tell.  Still, this one was fun to watch at home, and if you had a group, could be a fun trip to the theaters.  I encourage everyone giving this a look at in the future.  My scores are: 

Animation/Adventure/Comedy:  7.5

Movie Overall:  6.5

The Many Elements Of Newark Do Not Make This A Bad Sequel

            The Sopranos was one of those Mafia series that sets you up for so much and surprises you with the levels of darkness they were willing to reach for.  Life in the various sections, burrows, and cities that were the gangsters’ playgrounds was a vicious jungle of deceit and death.  Yet, for all the carnage and immoral showings… there was guts, interconnected story arcs, and always lingering presence of who was going to be the next to receive the bullet and black out screen.  So now, years later after the final cut off, we get a prequel that seems to try and dive back into the world and describe the gangster lord’s early life and how he became the patriarch of the television crime family.  Will it be good?  Is it what the fans wanted?  Not sure, but I’ve got some ideas as I come into the mix with yet another review.  So thanks for joining me as I look at:  

Movie:  The Many Saints of Newark (2021)

Platform:  HBOMax

• Director

• Alan Taylor

• Writers

• David Chase(based on characters created by)
  • Lawrence Konner

• Stars

• Alessandro Nivola
  • Leslie Odom Jr.
  • Jon Bernthal

LIKES: 

The Story: 

I’m not the best person to engage in this story accuracy to the series as I have to watch more of the show given how young I was when it was on.  Still, from the movie alone, the story is not so bad and feels very much like a mafia drama fitting to match with the other movies I’ve seen.  There is the shady business dealings, the rat finks/traitors mixing stuff up in a climb for power, the effects on the family, and even the love affairs that all get wrapped up into the these types of tales.  The Saints of Newark is not afraid to get its hands dirty to give you the horror of the life in the mob and the pressures that come with running the family, which I did like.  Even more appreciative is the multiple angles that we got to see the chaos unfold, not just from the aspect of future Tony.  It’s that element that sort of immerses you into film and does a nice job of helping connect pieces for newcomers like me. 

The Character usage:  

Again, cannot comment on the accuracy or matching of the younger counterparts to their older selves, but I nod my hat at using many of the characters in a meaningful way.  Newark’s cast is quite large for a movie, but within it are plenty of well used moments, time, and interactions that draw up the pasts of our future leading characters.  Tony’s dances with the devil of crime and power are dashed throughout the entirety of the movie, giving you a taste of the conflicting mindset that comes with such pressures.  Dickie’s ever changing mindset and lifestyle is given lots of time on screen, acting as large foundational pillars for him to support the other elements of the film.  You want rival gangs and the pawns who get used, Harold is there to give you that aspect intertwining with the rising power of the 70s.  You’ve got a full immersive property presented in this film and again for newcomers it’s nice to have so many characters with meaning. 

The Costume and Setting:

I’m a sucker for bringing me back to the past and totally immersing me into the world.   Newark’s team of set pieces, filming, and costumes again brought the decades of the 60s and 70s back to life and embedded the spirit of the times into the film.  You felt like you were a part of the history in the making during some events on profile, while on the other side you get to just enjoy the fashions that were a big part of the world we knew back then.  Other elements from the car models to the television designs were given their moments to shine and helped again bring the family traditions back from the dead for just that moment.  It’s a nice world that was crafted and perhaps the high point for me in this film. 

The Music: 

It fits with the setting piece mentioned above, but plenty of music to bathe your ears in and appreciate the talents of artists past.  Jazz and the Big Bands are all ready for you to dive into during the family celebrations and personal jumps.  As the times change and the public opens up, we get hit with the songs of the decades and the power they bestowed.  Sure, it’s a bit cheesy, but you know what… it works to give you the emotional heat of the situation.  

The Action: 

It’s not the most run and gun, or kung fu fighting I like, but… it again fits in the setting of the movie.  The Many Saints of Newark has a few fights that hold the same atmosphere of the Mafia battles that are famously noted in history.  Vicious, merciless, and careless who is in the crossfire, these dances of shot guns and hand guns have a realistic air to them.  Grounded fights of using cover stick to how these fights probably played out, as family vs. family tried to take one another down.  There is some anguish in those souls who take the gun, and that added bit of humanity, alongside the lack of safety for any character, is a nice element to stick to the hush hush nature of the crime family. 

Acting: 

I can’t comment on how well they capture the essence of the characters, and to that you’ll need to find other fans to explain.  However, the movie does get nods for some good performances in the Mafia family business.  I don’t want to call out any names, but most of the group nails the vantage point of a mafia family. From the exceptional mobsters who taunt death with their bold moves for money, to the crushed spirits of the family members ingrained in the darkness, they all hit their marks quite well for this reviewer.  Several of the female actresses really captivated how miserable life as a mob wife could do, while Odom Jr’s animosity towards the abusers holds its own nature.  Anyway, there are some weaker performances, but even these feel diluted by the quality acting of the main cast.  

DISLIKES: 

Many Plots feel like teasers:

Perhaps it’s due to my inexperience with the series, or perhaps it’s something more.  I’m not sure, but this movie felt like it only gave us glimpses of the bigger tale and fully fleshing out the values.  You might say, “No kidding, but in a movie you only have so much time!”  I agree, which is why I understand the Sopranos were a series as opposed to one solid movie.  That is very evident in this film, as many other of those supporting elements feel they are in need of more time, more detail, and intertwining to really pop out and reach full potential.  Sure, there is enough to give you the gist, but for full on storytelling in this caliber, episodes were needed not just movies. 

A Bit Boring:  

I’ll come out and say it, The Sopranos to me is not the movie that moves to the quickest beat of the drum. Those episodes occurring weekly worked because you had time to take breaks and get the story, predicting and figuring out what factors were going to come to play next in that soap opera fashion.  In this film, those factors are missing for me and that means slower pace and set up that need a few bouts of fighting, chasing, and snooping to get to the truth to help jazz things up.  

Side Stories That Might Not Have Been Needed: 

The category explains itself, but I think there were small arcs, jokes, and pokes at the series that seemed irrelevant to casual viewers like me.  Some of the tandems taken by this series feel like they are alluring to something, but due to time constraints again feel kind of off for me and in the way of other things that could have been exciting to see.  In particular were the amount of time we found ourselves in the riots, which though has the elements needed and bring that culture factor in, did little for the story in the time we had for this film.  Those tangents kind of felt just out of place and I would have liked more time with exploring the opportunities. This was especially true with Ray Liotta’s character, who though has a bit more depth toward the moral ambiguity of Dickie’s life, is done in an odd way that does not quite hit home for me. 

The VERDICT:

The Many Saints of Newark has a lot of good about it for this reviewer who is still a rookie in the world of the Sopranos.  Straight up, it’s a layered, immersive mob story where one dives back into the past to uncover the story of the well-known family.  It’s got the looks, the feel, and the music to trick your brain back to the past, with strong acting to further help force the bravado and persona of this very dark drama.  The action works for the movie, thought it does need more, but fortunately the multiple aspects of the film work well for this reviewer.  Yet, the movie shows why we had the Sopranos as a series, because it needs time to fully get the story right and help the pace not be as slow in this movie.  In regards to the side stories, there are events they explain and introduce, but the time and number of deviations from the main plot takes away from the story and not adds on.  Overall it’s okay, but this one is more of a home view for me to be honest than at the theaters.  My scores are: 

Crime/Drama:  7.0

Movie Overall:  6.0

A Potent Venom Of Comedy, But A Carnage Of Many Other Elements

            Marvel’s properties have been handled by a bunch of studios and we all know of varying quality.  Sony’s handling of the Spiderman franchise has had some success, but Venom was a piece of work that was did not quite deliver the dark splendor of the symbiote.  Funny as it was, the story choices, potential of character development, and so much splendor that Disney has done with the franchise.  So a sequel handling one of my favorite villains did not leave me with too much hope of handling the franchise, but here we are diving back into the theaters to take a look and see what we get.  Robbie K sharing his thoughts on the latest movie, this one titled: 

Movie:  Venom: Let there be Carnage (2021)

• Director

• Andy Serkis

• Writers

• Kelly Marcel(screenplay by)
  • Tom Hardy(story by)

• Stars

• Tom Hardy
  • Woody Harrelson
  • Michelle Williams

LIKES:

The Animation:  

I’ll give them props on their design for making the symbiotes come to life, Sony’s latest dive into Venom’s creation is very good.  Tight forms, great fluidity of the black ooze that makes him up, and those sensational teeth are perfect for bringing him to life.  The movement is fluid, it goes super well during the movement pieces, and the tendrils acting out the comedy moments are awesome.  When Carnage appears, that chaotic redness is not quite a vivid as the comics, but definitely has the blood element and chaos of the malicious symbiote.  It’s grimy and viscous, and has the sinew of the tendrils that offers a little more of the nightmare that Carnage is known for, including his devilish bladed arms.  

The Music:  I know a soundtrack for a Marvel movie is not the most noticeable feature, but much like the first film it’s got attitude, beats, and some layers to it.  Some symphony work goes alongside the fanfare sound effects to help make the inspiring pieces we love in super hero movies.  It’s the rap times though that really work and man are they awesome.  Rap beats carry the harder attitude of the Venom world, with that no consequences edge that works to go with Venom’s attitude.  The end trailer song was my particular favorite and I liked given the sweet tones of the chorus and the verses bringing the hardcore beats.  

The Acting:  

Certainly not the Oscar’s level others have hit, but I enjoyed the performances of the cast on this installment of Venom’s chronicles.  Tom Hardy essentially acting with himself is certainly the highlight, with a natural flow to the chaos of the lines that he seemed to write for himself.  Hardy as Eddie has the same nervous, loser attitude he conveyed in the first, that awkward atmosphere he brings doing super well to act as the moral compass to guide the ever aggressive Venom through the world.  As Venom, he’s hilarious, still acting like a newborn/toddler who can’t take no for an answer and wants to eat everything he can for his survival.  I loved the lines he delivered as Venom, I loved the joy, horror, and vulnerability he brought, and the commentary is certainly one for the books for voice acting.  Harrelson still does his job well as the insane serial killer of Cletus, especially that eerie, unsettling longing that he seems to have with his darker roles.  While not the most insane of a serial killer, he works well enough for the direction they took him, and they sort of corrected the hair for me so that’s a win.  I can’t say he was my favorite villain character, so there really is not much I can say outside of a solid delivery for his backstory and that longing of something serial killer roles thrive on.  Michelle Williams wins for a fun support, but again she is not utilized the best in this film and could have had more involvement on so many levels for me.  The times she was on board, she was funny, a good nonverbal and verbal acting mixing to bring some of the more unique comedy moments I’ve seen in Marvel in some time.  

The Comedy:  

Hands down the best part of the movie is the comedy and it is funny.  Like the last installment, that dynamic relationship between Venom and Eddie is solid, a duo who play so well off of each other despite being the same voice.  The aggressive personality bossing around the meeker personality goes super well, and Venom’s mannerisms and taunts are a wonderful comedic tool.  Then, they start using the internal monologue even better with Venom, showing that combative mindset distracting Eddie from answering normally, especially when Venom pushed enough to cause Eddie to outburst. Finally, when you see Venom get the driver seat a little bit, the writing works well with Venom exploring the universe a little more.  His speeches, his jokes, and so much work with this new angle to Venom and again I was cracking up at the vaudeville humor he brought, alongside the commentary of the movie.   And as I said, Michelle Williams does well in her roles, sometimes acting as a prop and other times a fantastic medium that blends all the styles together.  There are a few things that Harrelson does that are funny, but they are in the backburner for me and lost to Venom’s constant banter. 

The Mid Credits Scene: 

Hands down the most exciting part, Venom’s extra scene shows great promise for the series in so many ways.  It’s still got great comedy and chemistry you have been seeing for most of the film, but does not just act as the comedic finish Marvel likes to do.  No there is some story behind it and then a nice surprise to set up the future of our dark symbiote.  I won’t say more to avoid spoilers, but Serkis and company get props for this one. 

Dislikes: 

The Language At Times:  

Again, this won’t affect as many people as it does me, but I get tired of foul language when I see so much potential in the writing.  However, Venom took a bit of the easy way out and at times goes heavy on the cursing when it could avoid it.  As this is a PG-13 movie, there is plenty of R rated language hitting the dialogue, including the F word a few times than you might expect.  So be warned. 

The Plot: 

My friend may have liked it, but for others like me, the plot is again a rushed mess that does not utilize the characters well.  The focus on the comedy allows for development of Venom and Eddie’s relationship, and though not massive improvements or anything revolutionary, it works well for the buddy comedy approach.  Yet, where it really went wrong involved everything else in their lives when I was watching this film.  Where Anne was a key factor in the first film, became more of a side piece in this, with her plot elements opening up some comedic factor, but little else past this.  The whole Eddie moving on with life and trying to adapt to the new stakes, was kind of rushed and lame, even to the point of conflict that happens in this film.  The story with Cletus was… okay, and a driving factor for the decisions of how to get to Venom, but I can’t say it fit with the story I had envisioned for the psychotic serial killer I know Cletus to be.  And for Shriek’s inclusion, held promise, but as she was not a symbiote, so she was not too ingrained into the full story.  Venom’s second installment does not have the same cohesiveness that other Marvel film’s do and it’s a shame again due to what they could have executed. 

Carnage feels a bit too controlled: 

If I remember several comics and cartoon shows correctly, Carnage was a force that was chaotic, deadly, and insane, hence why he was able to be such a dark and threatening force.  In this movie though, I don’t think his utilization matched that and in fact made him a little too logical.  Certainly there are moments where that primal force of hunger and death seeking are seen, but I can’t say I was impressed with the other ways they took the symbiote and his host.  There was no impending terror of them hunting, no close calls and horrific sequences that haunt your dreams.  As for his other powers, I guess I expected more based on what the trailers showed off, but that did not happen for me.  The blades were more design than used and even the projectiles were minimized, which with Carnage minimal is not way they usually go.  Carnage is one of those villains whose execution requires a lot of study and detail and the direction I took only somewhat filled that craving. 

The Action: 

Or better yet lack of it.  Venom’s second film is still heavily comedy based and seems afraid to embrace the action that a dark tale could really execute.  Looking at the movie as a whole, there was about fifteen minutes total that we saw of this film and that’s sad when comparing to so much of the other Marvel films.  Most of the scuffles are one sided displays of CGI slamming that really offers no suspense or horror, so I can’t say it was that exciting for me.  Then the climactic ending, was kind of bland for me, again given what I’ve seen in the other Marvel movies.  A ten minute bout of a few punches and slams that, while appropriate as a start, did not use the powers that we as fans know these monster have.  Where was the dance of crimson blades a crazy, scarlet symbiote could unleash?  Where was Venom’s strength utilizing the environment to combat those blades and use tricks to offset the strength of Carnage?  Where was Carnage’s mutations evolving out and further surprising us?  The answer is not on the final cut, though I did enjoy the clever use of sound bringing more of the hosts out.  The final ordeal is anticlimactic for me, and did not live up to the potential that these two titans are known to bring, and could have used about 15 more minutes at least or at a few other conflicts to break it up. 

The VERDICT:

Venom 2 was okay with me, but it’s not the best comic book based movie to come out of the woodwork.  Certainly the visuals and attitude of the movie are there and the acting brings that world to life and does well with the established dynamics.  It’s biggest strengths for me were again the comedy and the mid credits scene, the former being the biggest selling point for fun for this film.  Yet, the movie’s plot is still a mess and the handling of Carnage, while not the worst, there was a lot of potential they missed out on in his use.  Look wise he’s great, but the Carnage I know and the Carnage I got, did not match for what I had hoped to see.  In addition, the action was very limited and did not really satisfy the buildup they were trying to make.  As such, the movie is okay, and fortunately has enough special effects and music to get a trip to the theater for a see.  My scores for this film are:  

Action/Sci-Fi/Thriller:  7.0

Movie Overall:  6.0-6.5