Tag: Michelle Williams

SHOWING UP (2023) – Review

Aside from the warmer temps and the arrival of the big Summer blockbuster flix, the waning days of Spring also bring the conclusion of the school year for many students from public schools and colleges (yes, they often operate with limited classes in Summer). So, how about a fairly somber film set in the world of academia? And to get more specific, perhaps a slice of life set in an art school, a place filled with folks working on projects for display from paint on canvas to hanging bits of string and fabric would “fit the bill”. Yes, that’s the setting for this character study about an artist that learns that much of the hard work of her creative life is focus, determination, and simply SHOWING UP.

The artist in question is Lizzy (Michelle Williams), who spends most of her time in the workshop space she’s set up in the garage of the house she’s renting. Well, she’s really living in half of the house owned by another artist named Jo (Hong Chau). Lizzy is furiously working on clay sculptures that will be on display soon at a gallery show of her creations. Not helping her progress is the lack of hot water, which landlord Jo is not attending to (instead she’s also prepping for a show and making a tire swing for the big backyard tree). They both are on the staff of an art college outside of Portland run by Lizzy’s frazzled mother Jean (Maryann Plunkett). The rest of the eccentric teachers are helpful and supportive, especially Eric (Andre Benjamin) who runs the kiln (essential to Lizzy). The tension ramps up when Lizzy’s cat mangles a pigeon that swooped inside her place. She releases the injured bird into the wild, but Jo retrieves it and asks her to look after it as it heals (and Jo sets up her own art display). Then Lizzy must visit her pottery artist father, Bill (Judd Hirsch), and personally invite him to her show, He has his hands full with visiting houseguests (Amanda Plummer and Matt Malloy) who are content to mooch food and take over his living room. Luckily Bill can give Lizzy info on her socially awkward brother Sean (John Magero) who hasn’t responded to any of her invitation attempts. Between her family, the injured bird, and her slow-moving landlord, will Lizzy get everything together before the “big show” opening day reception arrives?

Williams cements her “rep” as one of our most versatile screen stars with her take on an everywoman who almost blends into the background, in many sequences. Her Lizzy is there to react and “roll with the punches” when dealing with other personalities and unexpected situations. It’s not to say that she “coasts along” as her domestic chaos finally “lights her fuse” (“Who’s in my parking spot?!”). Williams shows how Lizzy’s almost at “the brink” as she pushes herself toward her artistic “finish line”. For much of the story’s runtime, her adversary is Chau’s Jo who seems indifferent to Lizzy’s concerns as she doesn’t let her own art shows overwhelm her while seeming to ignore her tenant’s pleas. Perhaps Lizzy is envious of Jo’s blase attitude toward her work and life. Benjamin is the campus”mellow fellow”, quick with a smile who is “diggin’ the groove” in his work and social life. Plunkett is prickly and distracted as Jean who flits about the school’s offices as though she has a dozen plates spinning with her animosity toward her ex-husband finally earning her intense focus. Hirsch is an affable charmer, the “godfather of clay” who delights in the blossoming talents of his kids but is content to be a distant mentor. Magaro conveys a real sense of slowly simmering volatile chaos as the unpredictable, flighty Sean, whose main concern is his lack of access to his TV shows (“I’m being blocked.”). Plummer and Malloy supply some quirky comic relief as the guests that linger well past the “welcome stage”.

This film is the fourth collaboration between Williams and filmmaker Kelly Reichardt who directed from the screenplay she co-wrote with Jonathan Raymond. And of the four it may be the least compelling. Being a former art college student I appreciated the attention to detail, getting the atmosphere of languid creativity just right, much like the comedy/mystery ART SCHOOL CONFIDENTIAL from 2006. Like that weird graphic novel adaptation I was almost experiencing sensory flashbacks (“sniff” is that turpentine or epoxy) and feeling as though the camera was right behind me in those hectic days of deadlines and endless “drying times” as artists worked on too-long strips of canvas on the hallway floors. But the mood’s not enough to make the story interesting as little subplots drop in and out with little resolution, from the wounded bird to the somewhat unhinged brother. At the tale’s heart is the odd passive-aggressive bond between Lizzy and Jo which feels dramatically shallow. The sense of “art drudgery” is there, but the build-up to the big gallery show doesn’t puck a real thematic “punch”. It’s great to see Williams paired again with the always-engaging Hirsch, and she is a strong scene partner for Chau, but they can’t overcome the meandering pace. The details are spot on, but it’s not enough to spark interest in the non-art school crowd who the studio hopes will be SHOWING UP at the cinemas.

1.5 Out of 4

SHOWING UP is now playing in select theatres

THE FABELMANS – Review

Gabriel LaBelle as Sammy Fabelman, in THE FABELMANS, co-written, produced and directed by Steven Spielberg. Photo credit: Courtesy of Universal

In his semi-autobiographical film THE FABELMANS, director Steven Spielberg looks back on growing up and how he fell in love with movie-making, a remembrance told through the lens of his parents’ marriage. Of course, “semi-autobiographical” means not everything we see is true but the story is by turns funny, touching and heartbreaking, as Sammy Fabelman, the stand-in for young Spielberg, grows up while his determination to make movies also grows, and his parents’ marriage falls apart. The film features a stellar cast, including Paul Dano, Michelle Williams, Seth Rogen, and Judd Hirsch with a nice cameo by David Lynch. Spielberg co-wrote the script with Tony Kushner, who also co-wrote “Munich” with the director, and with music by John Williams, the stage is set for something wonderful – and we get exactly that.

There seems to be a spate of partly-biographical films from big-name directors in the last couple of years, maybe partly due to reflection during pandemic lock-down or just to reaching an age for looking back (Spielberg is now 75). This one joins Kenneth Branagh’s semi-autobiographical “Belfast” from last year and Sam Mendes’ partly-biographical ode to his mother, “Empire of Light.”

THE FABELMANS starts out with the family in 1950s New Jersey, as we meet 6-six-year-old Sammy Fabelman (Mateo Zoryon Francis-Deford) while he is standing in line with his parents Mitzi (Michelle Williams) and Burt (Paul Dano) to see his very first movie. However, young Sammy is not too sure about this experience because he is afraid of the dark. It does not help matters when his mother, in an effort to reassure him, describes movies as “like dreams” – which Sammy quickly notes can sometimes be scary. But his parents tell him the movie is about the circus, and Sammy loves the circus and clowns (in an earlier era when clowns were seen as harmless and funny rather than scary). And the movie? Cecil B. DeMille’s “The Greatest Show On Earth.” If you have seen this epic, you know it is less a light, happy comedy than a dramatic epic, with a showstopper scene of a circus train wreck.

Sammy’s parents obviously expected a more light-hearted movie (and what parent hasn’t made this kind of mistake?), so they are nervous about Sammy’s reaction after the show. Sammy does indeed seem stunned afterwards, but it is because he wants to know how they did that train-wreck scene. But Hanukkah is coming, and the lighting of the menorah candles, and Sammy gets an electric train set, one car at a time until the final piece, the transformer to power it all. Yup – train-wreck re-enactment is inevitable, and when his mother hands him a home movie camera so he can record it, the pattern is set.

Sammy’s fascination with making movies is encouraged actively by his artistic mother Mitzi, who even gives him his first movie camera, but it puzzles his science-inclined father Burt. The film follows Sammy’s early efforts at making movies, along with growing up with his three sisters (one a baby) and his parents. His brilliant engineer/inventor father Burt (Paul Dano) is working on the cutting edge of the nascent computer industry, developing the machines that will drive the future. His mother Mitzi (Michelle Williams) is a talented pianist but gave up her dreams of the concert stage to raise her family.

Scenes of little Sammy crashing his train and filming it with his dad’s home movie camera give way to more movie-making, often starring his older sisters, who seem to enjoy the process nearly as much as their brother.

Burt Fabelman’s soaring career takes the family from the suburbs of New Jersey, to Arizona, and then to northern California. Tagging along is fellow computer engineer Bennie Loewy (Seth Rogen), a family friend who is kind of an uncle to the kids as well as Burt’s co-worker in early computer research.

For anyone who grew up making little movies (or knew someone who did), this film is pure catnip. At the same time, this is a universal coming-of-age story for anyone who grew up in the later half of the 20th century. The film-making sequences are among the most fun, and punctuate the family’s story as well as illuminating young Sammy’s growth as he approaches adulthood. This beautifully constructed family story has humor and heart-break, and a winning coming-of-age story.

While scientist Burt is supportive of his son, he sees his son’s movie-making as a hobby, and something he will grow out of. It’s pretty clear Burt wants his son to follow in this footsteps but as much as Sammy loves his quiet, kindly father, he is just not the same. As a sister points out, Sammy doesn’t even like math, but he sure loves making movies. Dad’s gentle efforts to interest his son – in fact any of this children – in his world of science is often undermined by jokes by ever-present pal Bennie. Although Bennie is in the same nascent computer field as Burt, his playful, jokester temperament is more like Sammy’s mom Mitzi.

While the family’s Jewish identity is clear, it is not always at the forefront in the story and instead is integrated into it in a pleasingly natural way. Interestingly, the Fabelmans never seem to live in neighborhoods with many other Jewish families around, as they move from place to place. In New Jersey, they drive home after in winter through a subdivision full of houses decorated with Christmas lights, until they reach their own unlit house. Yet later, we see a festive menorah in the window, as extended family gathers to celebrate Hanukkah. Later in Arizona, we see both grandmothers visit them, Mitzi’s warm mother Tina Schildkraut (Robin Bartlett) and Burt’s more critical one, Hadassah Fabelman (Jeannie Berlin). But by the time the family reaches northern California, as Dad’s career is reaching the top, the family finds itself in very different territory, a place where, as Sammy comments, “there are hardly any Jews.” Here Sammy is confronted by open antisemitism, in the form of a hate-filled fellow student in high school.

Both Michelle Williams and Paul Dano are marvelous as Sammy’s parents, two good but mismatched people. Michelle Williams is particularly brilliant as Sammy’s artistic mother, in one of her best performances in a career of them. Mitzi is encouraging to her son while frustrated in her own life, and the two do not always get along. Paul Dano is surprisingly good in the less-showy, more-challenging role as Sammy’s quiet, kind, steady, more reserved father. Dano manages effectively the difficult job of portraying a man who, while not understanding his creative son’s passion for movie-making, ever-hopeful that he will grow out of it, and fearing for his financial future if he doesn’t, is still supportive and kindly towards him, even if he doesn’t understand, In fact, both actors present these people as good parents who put their children first, even as things between them are breaking down.

Two young actors play Sammy Fabelman, Mateo Zoryon Francis-Deford as little Sammy, and Gabriel LaBelle as the teenage Sammy. The former is cute but newcomer Gabriel LaBelle does a truly impressive job, delivering a fine, strong performance often laced with a dry humor. Also very good are the girls playing Sammy’s two older sisters, his companions in movie-making in his early attempts. Both Julia Butters as Sammy’s sister Reggie and Keeley Karsten as sister Natalie give appealing, effective performances.

Other supporting roles offer humor and more. Seth Rogen plays Bennie, a part largely based on Spielberg’s favorite uncle. Rogen’s Bennie is often silly but role isn’t always comic, as his constant presence sometimes disrupts serious Burt’s attempts to connect with his family, and Rogen does well in the part. Yet Bennie encourages also Sammy’s movie-making ambitions along with Mitzi, and he plays a crucial role at a pivotal moment for the budding director. Judd Hirsch plays Mitzi’s oddball Uncle Boris, who comes to visit at one point, telling tales of working in early movies, and having a profound effect on Sammy. Hirsch’s bit as crazy Boris is short but a comic highlight. Another actor notable in a smaller role is Jeannie Berlin, who is dryly funny as Burt’s disapproving mother Haddash Fabelman. “This is brisket?” she asks after marching into Mitzi’s kitchen and opening her oven door to inspect the meal.

Spielberg recreates his own earliest films – which include a dentist horror one, a Western, and a war movie – but the director has admitted in interviews that he improved them over the originals, as he found the originals too embarrassing to show. And why not? The admission is its own kind of charming for fans and film buffs, and more of that catnip for the childhood movie-makers among us.

“The Fabelmans” is a lovely love letter to film-making, and to Spielberg’s family, with a message about good parenting and what matters in life. This film is very well-constructed, weaving together Sammy’s movie-making and growing up, with what is happening to his parents’ marriage, in a cohesive tale of family life. It is film that is entertaining but has something real to say about growing up and following dreams.

“The Fabelmans” is a wonderful cinematic Thanksgiving treat, particularly for those who dabbled in movie-making as kids.

RATING: 4 out of 4 stars

Win Passes To The St. Louis Advance Screening Of THE FABLEMANS

Young Sammy Fabelman falls in love with movies after his parents take him to see “The Greatest Show on Earth.” Armed with a camera, Sammy starts to make his own films at home, much to the delight of his supportive mother. CRITICS ARE CALLING THE FABELMANS “A MASTERPIECE.”  IT’S “THE MOVIE WE’VE BEEN WAITING FOR SPIELBERG TO MAKE.”  FROM STEVEN SPIELBERG, UNIVERSAL PICTURES AND AMBLIN ENTERTAINMENT PROUDLY PRESENT THE FABELMANS.  RATED PG-13.  IN THEATERS EVERYWHERE THANKSGIVING.

Advance Screening is Monday, Nov. 21st at 7pm at Marcus Des Peres 14.

The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated PG 13.

Enter at the link below. Winners will be selected

SWEEPSTAKES LINK: https://gofobo.com/GnkEr92497

Directed by Steven Spielberg, The Fabelmans is written by Spielberg and Pulitzer Prize-winning playwright Tony Kushner (Angels in America, Caroline, or Change), who has earned Oscar® nominations for his screenplays for Spielberg’s Lincoln and Munich. The film is produced by three-time Oscar® nominee Kristie Macosko Krieger p.g.a. (West Side Story, The Post), Steven Spielberg p.g.a. and Tony Kushner p.g.a. The film is executive produced by Carla Raij (Maestro, co-producer West Side Story) and Josh McLaglen (Free Guy, Logan).

The film stars Gabriel LaBelle (The Predator, American Gigolo series) as 16-year-old aspiring filmmaker Sammy Fabelman; four-time Academy Award® nominee Michelle Williams (Manchester by the Sea, My Week with Marilyn) as his artistic mother, Mitzi; Paul Dano (The Batman, There Will Be Blood) as his successful, scientific father, Burt; Seth Rogen (Steve Jobs, An American Pickle) as Bennie Loewy, Burt’s best friend and honorary “uncle” to the Fabelman children, and Academy Award® nominee Judd Hirsch (Uncut Gems, Ordinary People) as Mitzi’s Uncle Boris.

The ensemble cast includes Oscar® nominee Jeannie Berlin (The Heartbreak Kid, Inherent Vice) as Sammy’s paternal grandmother, Hadassah Fabelman; Julia Butters (Once Upon a Time … in Hollywood, 13 Hours) as Sammy’s sister Reggie; Robin Bartlett (Moonstruck, Lean on Me) as Sammy’s maternal grandmother Tina Schildkraut and Keeley Karsten (Hunters, Evil Lives Here) as Sammy’s sister Natalie.

The music is by five-time Academy Award® winner John Williams (Schindler’s List, Jaws), the costume designer is two-time Oscar® winner Mark Bridges (The Artist, Phantom Thread) and the production designer is two-time Oscar® winner Rick Carter (Lincoln, Avatar). The Fabelmans is edited by three-time Academy Award® winner Michael Kahn ace (Saving Private Ryan, Schindler’s List) and Sarah Broshar (West Side Story, The Post). The film’s director of photography is two-time Academy Award® winner Janusz Kaminski (Schindler’s List, Saving Private Ryan).

https://www.thefabelmans.movie/

Gabriel LaBelle as Sammy Fabelman in The Fabelmans, co-written, produced and directed by Steven Spielberg.

Watch The Trailer For THE FABELMANS, Directed By Steven Spielberg And Starring Michelle Williams, Paul Dano, Seth Rogen And Judd Hirsch

THE FABELMANS had its premiere on Saturday evening at the 2022 Toronto International Film Festival.

The film was met with a standing ovation at the Princess of Wales theater and rave reviews by critics. Read The Hollywood Reporter’s review HERE. Oscar pundit and THR’s executive editor of awards Scott Feinberg writes in his wrap-up, “As for the film itself? It is, at least for now, the one to beat in the best picture race.”

Variety’s Peter Debruge says: “The master of escapist entertainment gets personal in this 150-minute self-portrait, crafting a loving homage to the complicated relationship with his parents that has informed so much of his work.”

Indiewire’s Eric Kohn states: “While Spielberg made history last year as the only director to receive Best Director nominations across six decades, he has never received a nomination for screenwriting. The movie is positioned to elbow its way into a crowded Best Original Screenplay field that includes everything from Martin McDonagh’s “The Banshees of Inisherin,” Todd Field’s “TÁR,” and Billy Eichner’s “Bros.” With a score by John Williams and Janusz Kaminski’s usual elegant lensing, “The Fabelmans” boasts top-shelf crafts to support its small-scale narrative. More than that, the movie will stand out in a wide-open Best Picture field for the way it celebrates the cathartic power of the movies.”

Directed by Steven Spielberg, The Fabelmans is written by Spielberg and Pulitzer Prize-winning playwright Tony Kushner (Angels in America, Caroline, or Change), who has earned Oscar® nominations for his screenplays for Spielberg’s Lincoln and Munich.

The film stars Gabriel LaBelle (The Predator, American Gigolo series) as 16-year-old aspiring filmmaker Sammy Fabelman; four-time Academy Award® nominee Michelle Williams (Manchester by the Sea, My Week with Marilyn) as his artistic mother, Mitzi; Paul Dano (The Batman, There Will Be Blood) as his successful, scientific father, Burt; Seth Rogen (Steve Jobs, An American Pickle) as Bennie Loewy, Burt’s best friend and honorary “uncle” to the Fabelman children, and Academy Award® nominee Judd Hirsch (Uncut Gems, Ordinary People) as Mitzi’s Uncle Boris.

On September 6th the American Film Institute (AFI) announced that Universal Pictures’ and Amblin Entertainment’s THE FABELMANS, directed by AFI Life Achievement Award recipient and Academy Award®-winning director Steven Spielberg, will close AFI FEST 2022.

Check out the brand new trailer.

The ensemble cast includes Oscar® nominee Jeannie Berlin (The Heartbreak Kid, Inherent Vice) as Sammy’s paternal grandmother, Hadassah Fabelman; Julia Butters (Once Upon a Time … in Hollywood, 13 Hours) as Sammy’s sister Reggie; Robin Bartlett (Moonstruck, Lean on Me) as Sammy’s maternal grandmother Tina Schildkraut and Keeley Karsten (Hunters, Evil Lives Here) as Sammy’s sister Natalie.

The music is by five-time Academy Award® winner John Williams (Schindler’s List, Jaws), the costume designer is two-time Oscar® winner Mark Bridges (The Artist, Phantom Thread) and the production designer is two-time Oscar® winner Rick Carter (Lincoln, Avatar). The Fabelmans is edited by three-time Academy Award® winner Michael Kahn ace (Saving Private Ryan, Schindler’s List) and Sarah Broshar (West Side Story, The Post). The film’s director of photography is two-time Academy Award® winner Janusz Kaminski (Schindler’s List, Saving Private Ryan).

The film is produced by three-time Oscar® nominee Kristie Macosko Krieger p.g.a. (West Side Story, The Post), Steven Spielberg p.g.a. and Tony Kushner p.g.a. The film is executive produced by Carla Raij (Maestro, co-producer West Side Story) and Josh McLaglen (Free Guy, Logan).

The Fabelmans opens in Select Theaters November 11, everywhere November 23.

VENOM: LET THERE BE CARNAGE – Review


Carnage in Columbia Pictures’ VENOM: LET THERE BE CARNAGE.

Okay, movie fans were ready to re-enter the Marvel Cinematic Universe at the multiplex and sent SHANG-CHI AND THE LEGEND OF THE TEN RINGS to the top of the box office (still hovering there, actually). Are they ready for another fix, though this new flick has “tenuous ties” to the MCU? Yes, this is part of Sony’s licensing deal with Marvel (much like last year’s THE NEW MUTANTS was with Fox), but is not a co-production with Marvel Studios, as was the last two Spidey flicks and the upcoming NO WAY HOME. Three years ago, Sony decided to do “spin-offs” without the wall-crawler. But before the Oscar-winning animated epic SPIDER-MAN: INTO THE SPIDER-VERSE there was VENOM. And because he made a decent haul in theatres, a sequel was shot, then delayed due to the pandemic, and now finally “escapes”. But there’s no number in the title, as it’s called VENOM: LET THERE BE CARNAGE.

But before we catch up to the “big V”, the new entry flashes back several years as future serial killer Cletus Kasady is separated from his first love Francis Barrison, when she is transferred out of the orphanage they shared and sent away to be studied at the secret research center Ravencroft (she emits a deadly high-pitched wail, a “gift” that earns her the nickname “Shriek”). Jump ahead to present-day San Francisco where Eddie Brock (Tom Hardy) is trying to get back into journalism while dealing with the ravenous alien Symbiote, Venom, that shares his body. One big setback is the news that his former lady love Anne (Michelle Williams) is now engaged to the annoying Dan (Reid Scott). Ah, but the now grown-up and incarcerated Cletus (Woody Harrelson) has decided to grant an interview with only Eddie. He gets the scoop, while Venom gets the location of Cletus’ still missing victims by recreating Casady’s cell wall chalk mural. This sends him quickly to “death row”. A follow-up “pre-execution” interview ends in a struggle between Eddie and Cletus. This eventually leads to Cletus becoming a “host” himself to the deadly red-tainted creature known as Carnage. After breaking out of Alcatraz, he rescues Shriek as the duo embarks on a rampage of destruction and death. But who will stop this new menace after Venom finally exits Eddie for “greener pastures” ?

Hardy brings lots of “working class”, “average Joe” heart to the often exhausting role of Brock, though it may be considered a dual role. He’s often frustrated and frazzled while in nearly constant arguments with Venom, though all those around can’t hear the growling “hangry” alien. Luckily Hardy makes it clear that Brock is the moral compass of the two. And lacking one of those needed guides, Cletus as played with frenzied glee by Harrelson, is the unchained id, lashing out even before he receives his “upgrade”. It’s a nice rift on his iconic role of Mickey Knox in the 1994 (!) classic NATURAL BORN KILLERS ( a bookend perhaps). The super-powered Bonnie to his Clyde is Shriek played by Harris as a most dangerous and unpredictable “wild card”, a loose cannon who might unleash sonic Hell with no warning. Scott scores lots of laughs as the endearing, but exceedingly understanding dweeb Dan. It’s great to see Williamson back on the big screen, but as with the 2018 original, her crusading lawyer Anne gives her even less to do, aside from being in need of rescue. It seems that her small screen roles have been much more interesting (she’s amazing in “Fosse”). Much the same can be said for Stephen Graham (so formidable in THE IRISHMAN), who mainly gives Brock the “stink eye” when he’s not barking out orders and firing his ineffectual pistol as Detective Mulligan.

Taking over the directing duties this time out is actor Andy Serkis, master of “mo-capture” emoting. who puts those skills to good use with the CGI-heavy third act. And that’s a big part of the film’s problem as the story devolves into a tiresome (even with the whole running time at a lean 90 minutes) battle of the pixels with gooey-ooey tentacles and claws filling the screen as they flail about and disorient the viewer (it doesn’t help that the big showdown occurs inside a dusty old cathedral under renovation…around midnight). Occasionally Cletus or Eddie will peel about from the rubbery “beasties”, but the human connection is lost in the mud and muck. At least Venom gets off some clever quips in the film’s first act, thanks to the screenplay by Kelly Marcel and Hardy himself, but the lines often overlap clumsily with some words getting mangled by the alien’s guttural growl. Oh, and his eyes still look like slick shiny white plastic orbs, while the teeth are gnarled with seemingly ending rows of spiky fangs. Often it appears as though Serkis is trying to inject an energetic urgency by whipping the camera about to the point of motion sickness. And the Shriek stuff feels lifted from one of the older X-MEN entries. Those who enjoyed the 2018 flick (and even SPIDER-MAN 3) will get lots of wild action for their buck, but he’s never been one of my top-tier Spidey villains (looking forward more to the much-delayed MORBIUS spin-off in the new year). But, as the old saying goes (with liberties), VENOM: LET THERE BE CARNAGE is a tale full of sound and fury signifying nothing (well, maybe a set-up for a “Sinister Six” future flick). Still, I’ll bet that it would’ve worked better over in the real MCU.

2 Out of 4

VENOM: LET THERE BE CARNAGE opens in theatres everywhere on Friday, October first, 2021.

VENOM: LET THERE BE CARNAGE Brand New Trailer Reveals

Tom Hardy returns to the big screen as the lethal protector Venom, one of MARVEL’s greatest and most complex characters. Directed by Andy Serkis, the film also stars Michelle Williams, Naomie Harris and Woody Harrelson, in the role of the villain Cletus Kasady/Carnage.

Check out the latest trailer now for VENOM: LET THERE BE CARNAGE.

Sinister Six is forming nicely, led by Doctor Doom and the upcoming Fantastic Four. Here comes Doctor Octopus, Vulture, Electro, Rhino, Sandman, and Venom (Eddie Brock). Spiderman: No Way Home and Doctor Strange in the Multiverse of Madness is setting all this up, along with Wanda Vision. What a great time to be a fan of the Marvel villains!

Screenplay by Kelly Marcel and story by Tom Hardy & Kelly Marcel, Based on the Marvel Comics

The movie opens in theaters September 24.

Carnage from Columbia Pictures’ VENOM: LET THERE BE CARNAGE.
Carnage in VENOM: LET THERE BE CARNAGE.

See Carnage And Venom In First VENOM: LET THERE BE CARNAGE Trailer And Watch The Trailer Breakdown With Director Andy Serkis – In Theaters September 24

Carnage in VENOM: LET THERE BE CARNAGE. Courtesy Sony Pictures Entertainment ©2021 CTMG. All Rights Reserved. MARVEL and all related character names: © & ™ 2021 MARVEL

“Rules: No Eating People”

Tom Hardy returns to the big screen as the lethal protector Venom, one of MARVEL’s greatest and most complex characters. Directed by Andy Serkis, the film also stars Michelle Williams, Naomie Harris (“Shriek”) and Woody Harrelson, in the role of the villain Cletus Kasady/Carnage.

Only in cinemas on September 24, check out the first trailer for VENOM: LET THERE BE CARNAGE.

This is such a great teaser as we got our first look at Carnage! The dialogue sounds fun and the story looks good!

The original film was a huge hit when it premiered in 2018, grossing $213 million at the domestic box office and a massive $855 million worldwide.

Listen as Serkis breaks down the trailer for his film.

The screenplay is by Kelly Marcel, who previously co-wrote VENOM, with the story by Tom Hardy & Kelly Marcel.

It is produced by Tom Hardy, Kelly Marcel, Avi Arad, Matt Tolmach, Amy Pascal and Hutch Parker. Barry Waldman, Jonathan Cavendish, Ruben Fleischer, Edward Cheng and Howard Chen serve as executive producers. Marco Beltrami is composing the music for the film.

Tom Hardy and director Andy Serkis on the set of Venom: Let There Be Carnage.
Venom in VENOM: LET THERE BE CARNAGE. Courtesy Sony Pictures Entertainment
COPYRIGHT: ©2021 CTMG. All Rights Reserved. MARVEL and all related character names: © & ™ 2021 MARVEL

AFTER THE WEDDING – Review

Left to Right: Michelle Williams as Isabel, Julianne Moore as Theresa Young.
Photo by Julio Macat. Courtesy Sony Pictures Classics.

AFTER THE WEDDING cleverly switches the genders on the Oscar-nominated Danish film of the same name, transforming it into a terrific showcase for two powerhouse actresses, Julianne Moore and Michelle Williams.

Director Bart Freundlich decided to flip the genders in his remake of Susan Bier’s 2006 Oscar-nominated Danish film, which turns out to be a brilliant choice,thanks to the wonderful casting of Williams and Moore. . Often remakes of European hit films for American audiences fall far short of the original but Freundlich’s enjoyable, thoughtful drama is the exception, and may actually be an improvement.

The characters that Michelle Williams and Julianne Moore could not be more different. Williams plays Isabel, an American idealist who runs an orphanage in India. The orphanage is in shaky financial shape so when a wealthy American businesswoman named Theresa Young (Moore) offers to donate two- million dollars, it seems like an answer to prayers. But there is a small catch: Isabel herself must travel to New York to meet with the donor first.

Isabel is not eager to return to the U.S., which she left long ago, but she is even more unhappy about the timing, as it is only a few days until the birthday party for seven-year-old Jai (Vir Paschisia), an orphan boy to whom she feels particularly close. Still, she has no choice if the orphanage is to survive.

When Isabel arrives, Theresa puts up in a luxurious suite in a posh hotel, a setting in which Isabel is thoroughly uncomfortable. She is scheduled to meet with Theresa at her office but is surprised to find that the donation is not yet a done deal. Further, the wealthy businesswoman wants her to stay over until the following Monday before she decides, citing her daughter’s wedding that weekend. She then further surprises Isabel by inviting her to the daughter’s wedding taking place the next day. Isabel is annoyed but has no choice but to comply with both requests.

At the wedding, Isabel makes startling discovery that sends them all down an unknown path filled with long-held secrets and life-changing decisions.

Freundlich’s intelligent adaptation of Bier’s original script is one reason that this remake is such a good film, creating a family drama that goes beyond the expected, creates complex characters and complicated choices, and prompts reflections on life. Another reason is the sterling casting, not just putting the talented Julianne Moore and Michelle Williams at the forefront and remaking this into a femme-centric drama.

Moore and Williams are wonderful in their scenes together and in their individual ones as well. These two stars shine at the center of it all in this engrossing drama, but the supporting cast is good as well. Billy Crudup lends good support as Theresa’s artist husband Oscar, and Abby Quinn is touching as their daughter Grace. But it is really these two female stars who run this show.

Director Freundlich places this story in beautiful settings which invite a contemplative mood. Much of the action takes place at Theresa’s gracious home in the countryside or sophisticated New York spots, but even the orphanage in India is surrounded by lush color and ancient historic sites, now overgrown. The director has a deft touch in unspooling the story, which plays out a bit like a mystery, but one where at every turn, we are going deeper into an exploration of the human experience. It is a family drama but one filled with complicated people and difficult choices, where there are no good guys or bad guys, just flawed people striving to make the best of the circumstances. It is a refreshing approach.

AFTER THE WEDDING opens Friday, Aug. 23, at Landmark’s Plaza Frontenac Cinema.

RATING: 3 1/2 out of 4 stars

VENOM (2018) – Review

Even though Summer is a recent memory, it’s Marvel time again at the multiplex. Or is it? Yes, that familiar red logo is prominent in all the marketing for this flick. Well, as they say, ya’ gotta’ look at the “fine print”. This is not from Marvel Studios, the film division started ten years ago. Rather it is “in association with” as it states at this flick’s opening frames. That’s because prior to 2008, before going “all in” on features, two of the biggest Marvel Comics properties were licensed out to some major movie powerhouses. The X-Men were snapped up by Fox, which has been releasing “mutant movies” since 2000 (two more are due next year). And after a massive legal brawl, Spider-Man swung over to Sony. That initial Sam Raimi 2002 origin was a box office behemoth. But when Raimi finished his trilogy, a reboot in 2012 and its 2014 sequel fizzled. Wisely Sony joined forces with Marvel Studios, making Spidey part of the Marvel “movie-verse” and launching a solo franchise with 2017 hit SPIDER-MAN: HOMECOMING. But Sony insisted they’d have their own “Marvel universe” aside from the “web-head” by focusing on Spidey’s impressive roster of villains (really, aside from Batman and maybe The Flash, he’s got the best “rogue’s gallery” in comics). Of course, Warner’s tried that with the disastrous 2004 CATWOMAN (and they’re trying again with the “now in production” THE JOKER). Will Sony have better luck with a comics fan favorite that goes back 30 years? There’s a lot riding on the slithering, toothy man-monster known as VENOM.

The story begins with the final moments of a sleek new space shuttle crashing to Earth (and no, you’ve not walked into the auditorium showing THE PREDATOR). We’re actually in a wooded area in East Malaysia, not the US. As the authorities arrive. we learn that this wasn’t a government project, but rather part of a space mission launched by the “Life Foundation”, a drug and tech mega company headed by Carlton Drake (Riz Ahmed). Seems they were bringing back several canisters containing these weird, wiggly alien creatures. And wouldn’t you know it, one of the canisters is missing. Oh oh. As Drake goes on TV to praise the astronaut/scientists that perished, we meet (back in San Francisco), popular maverick cable news journalist/reporter Eddie Brock (Tom Hardy). He’s living the good life, sharing a plush two flat with his lawyer girlfriend Anne (Michelle Williams). Hey, they even have crazy pillow fights before she’s got to rush off to the firm (awww, so cute). But Eddie’s got a boss too, and he insists on an interview with Drake (Eddie distrusts the guy). When he stumbles on to some insider info, Eddie uses it to turn the TV “puff piece” into an “ambush” on Drake. The mogul throws his considerable weight around and Eddie is fired (leading to a nasty break-up with Anne). But back to those aliens, called Symbiotes, who need to “merge” with living beings in order to live on Earth. Unfortunately, the hosts (lab rats and rabbits) don’t survive the merge. Nonetheless, Drake pressures his scientists, headed by Dr. Skirth (Jenny Slate), to begin trials on humans (the homeless recruited with promises of big cash). When the bodies begin to pile up, Skirth contacts Eddie and sneaks him past security to the sprawling Life labs. When Eddie spots a familiar street person writhing in a cell, he breaks her out. This prompts her alien to merge with Eddie. Lucky for him, they’re compatible. Soon Drake’s brutal security forces are on the hunt for Brock. But Eddie’s freaking out about the weird voices in his head. Then there’s the whole “morphing into a multi-fanged, nearly unstoppable, hulking cannibal” thing that has him on edge. And what of that missing alien across the ocean? It couldn’t make its way to the States, could it?

A truly talented cast is chained to a heavy, clunky script that drags them straight down, never giving them a chance to soar. Hardy has dazzled with his talents countless times, but average Joe (lotsa’ ‘dems and ‘dose, y’noze) turned crusading cable news star Brock is an out-of-date cliche that his skills can never really wrangle. Plus, he has to make the countless one-sided conversations with his merged-alien work, but it’s as if he’s Elwood Dowd contending with an obnoxious homicidal “Harvey” (where’s the “holy hand grenade” when you really need it). And thanks to that sloppy script, his Brock has zero chemistry with Williams’s Anne. She seems more like a sorority sister throwing a “hissy fit” at her listless beau after their big split (it doesn’t help that she’s attired in preppy plaid skirts, with a 70’s folk singer wig making her look like an extra in THE PAPER CHASE). So, an action adventure is only as good as it’s villain? Despite Ahmed’s talents, Drake is a sneering Lex Luthor-wannabe (though not the over the top loon that Jesse Eisenberg is as the actual LL in the DC “movie-verse”). His threats against his minions seem hollow, as though he was chewing out the servers at his “pop-up” eatery. The film’s biggest crime would be its treatment of the dazzlingly witty Slate as the doomed “whistleblower”. At least she’s not burdened with an excess of dopey dialogue (unlike the main trio).

Director Ruben Fleischer made one of the most delightful horror-comedies of the last ten years, ZOMBIELAND, but there’s little of that film’s wit and style here (It’s closer to the lunk-headed brutality of his GANGSTER SQUAD). The comedy here is ham-fisted while the action sequences are edited so haphazardly that it’s almost impossible to make out who’s where while mired in CGI ooze. A motorcycle/car chase through the streets of “Frisco (now that’s original) is so tedious I was wondering where the SF police were hiding (was this the night of “The Purge”). As for the title character, well, he’s a “mo-cap” mess with shiny porcelain eyes who bounces about as though he leaped right out of I, ROBOT and I AM LEGEND, or any number of video games. Hardcore fans of the comics will be angered that most of V’s more gruesome…appetites..were curtailed in order to grab the PG-13 rating (really, DEADPOOL and LOGAN were comics-based R-rated hits, so why wimp out). And as with all Marvel flicks we get bonus scenes during the end credits. The first tauts a possible sequel (yeah right) involving a great beloved actor sporting a dime-store tomato-red clown wig. But hang tight, because we’re treated (truly) to 3 or 4 minutes of the upcoming animated feature, SPIDER-MAN: INTO THE SPIDER-VERSE, which does hold out some hope for Sony’s plans. However, VENOM, like its namesake while likely not be fatal, but will definitely leave you queasy and lethargic. Maybe that cartoon feature on December 14 will be the perfect antidote to this toxic tripe.

1 Out of 5

Second Trailer Arrives Showing New Scenes Of Tom Hardy As VENOM

Tom Hardy and Michelle Williams star in the brand new trailer for VENOM. You can also catch this great new preview of the film on the big screen in theaters and IMAX now.

One of Marvel’s most enigmatic, complex and badass characters comes to the big screen, starring Academy Award® nominated actor Tom Hardy as the lethal protector Venom.

VENOM is directed by Ruben Fleischer, who’s previously films include ZOMBIELAND, 30 MINUTES OR LESS, and GANGSTER SQUAD. He’s also set to helm the upcoming ZOMBIELAND 2.

The film hits theaters on October 5.

Columbia Pictures’ VENOM