Venom: Let There Be Carnage

Written by Alexander Reams

80/100

“Fuck this guy.” 

Venom always knows what to say. No matter the situation he always seems to have a one-liner cocked and ready to go. Following the massive and surprising success despite a universal critical panning of its 2018 predecessor, Venom: Let There Be Carnage, is a sequel that knows exactly what it is. A breath of fresh air in the heavily inundated superhero film culture. Bringing on a director like Andy Serkis, who has possibly the most experience in motion capture performance of any actor, was not only the next logical step but the smartest decision Sony could’ve made. A director like Ruben Fleischer was a decent choice to introduce the character of Venom, but Serkis takes the foundation laid and elevates it to an insane level of zaniness and glee. 

Following the events of the first film, Eddie Brock and Venom are the odd couple with a capital “O”. Their relationship is strenuous at best, and at worst a force that can destroy Eddie’s apartment, including a bit involving Eddie’s relationship with a television. All the while, Cletus Kassidy (Woody Harrelson, going full Woody in all the best ways) is about to be executed for his mile-long list of crimes, events transpire, and he becomes the symbiote known as Carnage. Filling out the rest of the cast is Naomie Harris as Shriek, Michelle Williams and Reid Scott returning as Anne Weying and Dan Lewis respectively. 

Nowadays, superhero films are always so serious, and the tone of this film spits in the face of all of those films. Trading serious for silly on every level and everyone knows it, and the film works even more because of this. The first film wanted to be serious and turned silly, continuing that trajectory helped solidify the future of Eddie Brock

P.S. The post-credit scene truly does change the forefront of Eddie/Venom’s story and the forefront for the Sony Marvel characters.

Venom: Let There Be Carnage Trailer

Venom: Let There Be Carnage is currently playing in wide theatrical release.

You can connect with Alexander on his social media profiles: Instagram, Letterboxd, and Twitter. Or see more of his work on his website.

Kate

Written by Nick McCann

70/100

While there have been exceptional standouts in recent memory, 2014’s John Wick keeps getting the most bows of honor from fans and artists. Chad Stahelski and David Leitch’s movie served as a stark reminder that mid-budget action films can still be technically well executed in a modern film landscape while making solid returns. When Stahelski kept moving forward with that series, Leitch spread the 87Eleven stunt influence elsewhere to projects like Atomic Blonde and Deadpool 2. His latest venture for Netflix retains all the bone-crunching hallmarks you’d expect and is uber satisfying even with standard elements.

Much like John Wick, it’s a neon-coated relentless revenge tale. That being said, the story is about what you expect. Despite a handful of interesting turning points, the progression lacks frills and there’s very little reinvention to the narrative. It has a semi-rushed first act, hurried enough to get the basic set up for late movie revelations. Even then, I still felt the weight of what was happening. So much so that I was feeling an emotional high after sticking with the plot (although that could’ve been the carnage hyping me up). Overall, the story does its job fine without taking many liberties.

It has a decent cast, Mary Elizabeth Winstead makes for a great lead. She’s tough but tender when it calls for it. You never feel she’s invulnerable or trying to make someone look bad. She earns her cool points through tried and true performance. And that’s just the talking bits. Miku Martineau off sets Winstead’s broodiness with a fiery teen attitude that makes for some fun levity. Woody Harrelson is also entertaining, giving his character more weight than you’d expect. Rounding them out is Jun Kunimura and Tadanobu Asano, who deliver a strong screen presence and conviction through actual small screen time.

It’s more a style over substance kind of film, as evidenced by a slick aesthetic throughout. The production design does a great job capturing the Tokyo nightlife and Yakuza underworld vibes, from locations to costume design. The cinematography loves to linger a lot on the cityscape and all it’s sprawl at certain points. You can bet there is definitely no shortage of neon lighting. If you’re looking for immersion, this is the kind of movie to wait until nightfall for a closed curtain viewing with no lights on.

The big draw, as you would expect, is it’s action sequences. They are hard-hitting, kinetic and up to the new standard of today! Kate’s Camerawork utilizes long shots with involved movement that work in conjunction with logical editing. There are maybe a couple iffy parts but they aren’t glaring. You get a healthy dose of fist fights and shootouts, again with the appeal of the Yakuza angle. A catchy selection of Japanese pop rock and a synth score seal the deal on the energy.

Kate is by no means a breakthrough action movie but it is fun. Solid acting and propulsive action do make up for the same old expectations of the story. It manages to have a couple elements going for it that set it apart from its contemporaries. Go into it expecting style to dominate it’s substance. And if that doesn’t work, I promise the kills are cool.

Kate Trailer

Kate is currently available to stream on Netflix.

You can connect with Nick on his social media profiles: Facebook and Letterboxd.

Episode 94: Rescreening The Thin Red Line

“I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can’t. My attitude is always ‘let it keep rolling.”

Terrence Malick

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor Rescreen Terrence Malick’s The Thin Red Line and provide a First Impression on their next Rescreening episode title, Sidney Lumet’s Dog Day Afternoon.

The Thin Red Line Trailer

The Thin Red Line is currently available to rent and purchase digitally

Drink in the Movies would like to thank PODGO for sponsoring this episode. You can explore sponsorship opportunities and start monetizing your podcast by signing up for an account here. If you do please let them know we sent you, it helps us out too!

Visit us on Twitter, Instagram, and Facebook

Episode 90: Rescreening Margaret

“Filmmaking, like any other art, is a very profound means of human communication; beyond the professional pleasure of succeeding or the pain of failing, you do want your film to be seen, to communicate itself to other people.”

Kenneth Lonergan

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor Rescreen Kenneth Lonergan’s Margaret and provide a First Impression on their next Rescreening episode title, Terrence Malick’s The Thin Red Line.

Margaret Trailer

Margaret is currently available to stream on HBO Max

Drink in the Movies would like to thank PODGO for sponsoring this episode. You can explore sponsorship opportunities and start monetizing your podcast by signing up for an account here. If you do please let them know we sent you, it helps us out too!

Visit us on Twitter, Instagram, and Facebook