When Eddie Brock acquires the powers of a symbiote, he will have to release his alter-ego “Venom” to save his life.
I say this quite a lot but I went into this with absolutely no expectation, except that Tom Hardy would be fit. I left pleasantly satisfied and that’s because he is perfectly cast as the slightly loser-ish Eddie Brock. There’s a lot of fun to be had here, basically.
Is it anywhere are groomed as Infinity War or Black Panther? Of course not – but there’s a place for it and I enjoyed myself immensely.
Mr Hardy is a dream, an actor that sometimes makes you ponder whether he’s that technically talented – but it hardly matters, he has something a lot of other leading men don’t have and that’s the special something. And obviously I would climb him like a tree.
Riz Ahmed is also very good as evil Carlton Drake, a slick criminal mastermind who slowly but surely transforms into Venom’s ultra strong arch enemy, Riot. In the beginning, I had some reservations about Michelle Williams as Eddie Brock’s love interest Anne, who starts off pretty simpering. Luckily for everyone concerned, she claws it back and is actually great in the end, a heroine not afraid to get her hands dirty in a bid to make sure Eddie’s okay, even though he gets her sacked.
Support from Slate (whose character, Doctor Dora Skirth deserved better) and Reid Scott as Anne’s new boyfriend Dan is also good – but the supporting star has to be the lovely Mrs Chen (Peggy Lu).
The CGI can be a bit much to keep up with at times because there is so much going on and I don’t really know about all the symbiote science but ultimately I’m not mad at Venom at all.
A young orphan named Lewis Barnavelt aids his magical uncle in locating a clock with the power to bring about the end of the world.
I’ve a little bit of weakness for YA horror/fantasy, I can’t help myself. I think it might be because these are the kind of films that made me fall in long-term love with horror. I also have a little thing for JB and therefore this was a no-brainer. I enjoyed this ride, despite being the oldest member of the audience not accompanied by a child.
As Lewis gets to grips with his new life, living with his eccentric uncle Jonathan Barnavelt (Black) and occasionally, just as kooky next-door neighbour Florence Zimmerman (Blanchett), he learns that there is more to life than meets the eye – magic things – and there’s nothing more magical (and also sinister) as a house with a hidden clock buried in its walls.
While the family search for this torturous contraption, concealed somewhere deep in the core of the building, Jonathan’s arch nemesis Isaac Izard (Maclachlan) plans his comeback, with a little help from his beloved wife, Selena (Renée Elise Goldsberry). And Lewis must also navigate possibly the hardest landscape of all – middle school.
Honestly, this is a beautiful looking film with wholehearted performances from everyone. Cate is utterly breath-taking as the damaged (but determined) Florence. I feel like she should never veer from her purple colour palette ever again, it’s such a good look for her.
The effects are good and it’s above all fun to experience. There’s a really wonderful scene set in the ornate back garden that is stunning – and a head to head between our heroic trio and a bunch of haunted pumpkins. What’s not to love?
A wife questions her life choices as she travels to Stockholm with her husband, where he is slated to receive the Nobel Prize for Literature.
This movie showcases a powerhouse performance by Glenn Close, obviously. The woman is electrifying and handsome as fuck – and rightly so, pretty much the only thing you will care about.
As the downtrodden wife of a Pulitzer prize-winning author, she gives the most emotive performance and it’s probably the only element of the film that will stick in the mind. The narrative itself flip-flops between present day as the Castlemans journey to Switzerland with their son David (Max Irons) to pick up Joe’s award – and the past, as they meet in college, fall in love and begin to build their life together. The thing is, along the way they create something much more that just their family and it looks set to catch up with Joe.
But will Joan blow the whistle? Will she ever be ready to share her truth, the one that gives a fuller picture of who she is – not just the wife, not just a victim?
The Wife is a good movie but it’s not exactly a fun ride and at its climax you might just be a little disappointed. I would have liked more raging against the machine, more punches thrown (metaphorically or otherwise) and as the credits roll, I got what it was saying but I wanted more. Forgive me for waiting for Close to throw just a little bit of Alex Forrest into the mix. Now that would be a film worth watching.
A true crime film about a crew of retired crooks who pull off a major heist in London’s jewelry district. What starts off as their last criminal hurrah quickly turns into a brutal nightmare due to greed. Based on infamous true events.
With a cast like this, you can always rest assured that you’ll get a good quality movie. Caine and pals very seldom let us down and the old boys’ network is alive and well, thankfully.
This movie is fun, sad in places, dramatic in others – and it’s also kind of heart-warming to remember it’s based on a true crime. Seems Octogenarians shouldn’t be underestimated after all.
The quality of this set up could just as easily go against it though because it’s not quite as memorable as it should be. I haven’t thought about it since the credits rolled and I can’t put my finger on why I didn’t gel with it the way my husband did.
It’s very male-orientated and maybe that’s why I find it slightly mediocre – or perhaps it just isn’t my cup of tea. You can’t win ’em all.
I am very, very behind in the film reviewing stakes and for that I am sorry.
I currently have ten on my To Do list and in order to catch up, I’m going to have to keep it short and sweet on the movies I liked least. Why bother with too many words when they don’t fit the experience, right?
Forgive me for being behind the curve, I’ll get back to normal soon.
A woman seeks to uncover the truth behind the disappearance of her best friend.
This film is by far my favourite lately, if not all year – and there have been a pile of really good films so far. It just appeals to my bitchy nature with its zingy dialogue, incredible appearance and genuinely tense thriller vibe. It will be hard to talk about this without dropping #spoilers so I’m going to remain as enigmatic as possible – just like Blake Lively‘s mysterious Emily Nelson.
Stephanie Smothers (Anna Kendrick) is a slightly irritating mommy blogger who one day meets and befriends the chic and charismatic Emily Nelson at her son’s school. The two quickly bond over martinis and secrets. One day, however, Emily calls Stephanie for a simple favour – to pick up her kid while she deals with an emergency.
Days later and no sign of Emily, Stephanie is forced to contact her husband Sean (Henry Golding again), who is in the UK tending to his ailing mother. The two of them become closer as they try to work out what happened to Emily – and let me tell you I’ll probably have to stop myself here just to be safe. Let’s just say that Stephanie’s secrets aren’t the only ones out there – what could Emily’s be?
The story unravels via a series of vlogs put together by Stephanie whose views increase tenfold the more she updates her audience on the Emily case. This is a play on the ‘screen life’ format most recently used in Searching and I think it’s really fresh, although it doesn’t all play out on screen, we also visit present time and flashbacks to build up the story.
I must say that I went into this knowing I’d be impressed but not really knowing what to expect – Paul Feig‘s filmography contains a lot of broad comedy which I love but didn’t expect in this movie. Which I was right about, the humour is pitch black and sharp AF but it’s more sophisticated than usual.
Blake and Anna have never been better than here. They look great but they bounce of each other so well and the dialogue they’re given to play with made me cackle throughout. There’s a scene in which Stephanie confronts Emily’s fashion designer boss that was priceless and an excellent showcase for Kendrick’s comic timing.
Helen and I left the cinema just saying “Wow” to each other dozens of times. It’s just done very well and hopefully, along with the aforementioned Searching, will pave the way for more smart arse thrillers, I feel like they might be having a moment.
As for the costuming, don’t think I’m going to sign this off without swooning over both women’s wardrobes. More so Blake who rocks sharp tailoring like nobody’s business. Is there anything sexier that a woman in a well cut suit? I think you’ll find not. Anyway, I’m quite prepared to spend more time in the theater re-watching this movie because it’s bloody great and exactly what I wanted.
Four young men mistake their lives for a movie and attempt one of the most audacious heists in U.S. history.
I feel like I had to work extra hard to catch this movie in the theater (by going to another one). The Odeon showed it for what felt like ten minutes before pulling it due to lack of interest so I had to seek it out. It was worth it.
Based on the true story of four acquaintances who attempt to pull off an extraordinary heist based on a load of crime caper movies they’ve watched as homework, it’s a really interesting ride. Spliced with interviews with all the real life ‘characters’, including all four robbers, it builds up to the day of the robbery from its moment of conception.
The fictional Spencer (Barry Keoghan) works in a supermarket and is dissatisfied with his lot in life. Waiting for something to come along and render his existence special somehow, an idea is born the day he visits Transylvania University and sets his sights on John James Audubon’s The Birds of America as well as a collection of other rare books (including Darwin’s The Origin of Species).
Initially just intrigued that such rare artifacts could fetch such a pretty penny, Barry mentions it to his best friend Warren (Evan Peters) who takes a grain of an idea and runs with it. Warren himself is a wild card and you could argue is the main instigator of the plan, though he might deny it (and more or less does on camera via the real Warren Lipka).
The boys find themselves involved in a world they’ve never experienced before, taking meetings with fences and buyers (when Warren travels to Amsterdam), doing their research (all manner of heist movies, including Reservoir Dogs) and generally focusing all their attentions on their mission to steal the priceless books and sell them on.
When they realise they’ll need more help, they enlist the assistance of Eric (Jared Abrahamson) and Chas (Blake Jenner) though both are kind of reluctant participants, particularly when it comes to any sort of violence, a dash of which they’ll need to deal with the one person standing in the way of their prize – librarian Betty Jean ‘BJ’ Gooch (Ann Dowd).
Can they pull it off or are they doomed from the start? As the story gains momentum, the relationship these men share are tested to the max and they are forced to deal with their own individual feelings of guilt, failure and regret.
I bloody loved American Animals. I’d be lying if I told you it wasn’t Evan Peters that initially pulled me in but I also love a good heist movie. Especially one based on a true story and one that examines four normal real life characters and their motivations. The whole concept of wanting that one incredible thing to happen is very relatable and the fact that we get to see interviews with their families reminds us of the consequences of their actions.
Barry Keoghan is amazing as Spencer and he sold his character to me the most. I really enjoy him as an actor, having really been creeped out by his role in The Killing of a Sacred Deer so I’m quite interested to see more of him.
Hereditary‘s Ann Dowd is great as always, though we don’t see nearly enough of her. During the will-they-won’t-they heist scene, she is heartbreaking in her vulnerability and it left me feeling genuinely uncomfortable. I definitely recommend this film which is subtly stylised in its look but also holds up as a dark and genuinely tense crime caper.