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Andy Serkis

Venom: Let There Be Carnage – For the Love of Carnage

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Some relationships just don’t make sense. But they can sure be fun to watch.

In the new rom-com superhero flick Venom: Let There Be Carnage, Eddie Brock (Tom Hardy) has fallen on hard times. After the events of the first film, Brock has fallen on hard times. Struggling to pay the bills while living life with his frustrated (and hungry) symbiote Venom, Brock is doing everything he can to keep things together. When he is called in for an exclusive interview with serial killer Cletus Kasady (Woody Harrelson), Brock reluctantly takes the job. However, after a freak accident transfers some of Venom’s symbiote into Kasady’s bloodstream, a new terror is unleashed upon the city. Suddenly, Eddie and Venom must decide whether or not they can put aside their differences in order to work together and defeat the villainous monster known as Carnage.

Directed by Andy Serkis, Venom: Let There Be Carnage in an energetic ball of silliness. Instead of leaning into the potential gravitas of the evil symbiote, Serkis opts to create a film solely about monster mayhem and wanton destruction. (The title Let There Be Carnage is more than just a character reference.) However, in doing so, the film seems to fight many of the major tropes of modern superhero fare. For example, clocking in at a shockingly brief 97 minutes, the film leans into its story without any extra padding. (Compare that to the next Spider-Man film which has a reported runtime of 150 minutes.) There are no long soliloquys or moments where characters contemplate what it means to be a hero. Instead, the film pushes ahead with the story quickly as it builds to the inevitable superhero brawl at the film’s climax.

What’s more, despite the darkness of the character, Serkis use Venom’s relationship with Eddie to create a bromance comedy with a surprisingly light tone. In fact, the film feels more like the campier Batman films of the 90s than it does with other entries in to the Marvel Cinematic Universe. Despite the fact that Venom speaks openly about his desire to eat people, somehow the film manages to portray the demonic force as a ‘grumpy best friend’ rather than a menacing threat to others. (At one point, Venom even attends a rave wearing glow necklaces and drops the mic after speaking onstage.)

While these may seem like criticisms, the sheer ridiculousness of the franchise makes the film an absolute blast to watch. (Dare I say, it may even be refreshing?) This is a franchise that began with the expectation of darkness but has decided to surprise audiences with something entirely different. Stars Hardy, Williams and Harrelson may best be known for their more serious dramatic work yet they seem like they’re having an absolute blast leaning into the goofiness of the film. Hardy argues with Venom about taking on ‘superhero names’ while Harrelson’s sly smirk barely hides his own madness. Even Michelle Williams speaks to Venom as though he’s some form of estranged best friend as opposed to a terrifying alien symbiote. 

Underneath the laughs, this is ultimately a film about the signs of toxic relationships. Throughout the film, there are several spaces where the flaws between couples are exposed. Whether it’s Eddie and Anne, Anne and Dan, or even Cletus and Eddie, this is a film filled with duos who are struggling to keep things together. However, having said this, the best example of this may come in through Cletus and Frances as they attempt to build something, despite their issues together.

Drawn to the darkest aspects of each other, the would-be supervillain couple feed off each other’s thirst for revenge. However, despite their intense connection, their individual powers are in direct conflict with one another. With every shriek she makes, Carnage experiences pain, forcing Cletus to ask her to not use her abilities. (Incidentally, even though he cares for Frances, one could also read that as a sign of toxic masculinity where the male refuses to let his partner speak for herself.)

On the other hand, held up against the relationship between Cletus and Frances is the connection between Eddie and Venom. On the surface, the tension between host and symbiote is palpable as they want to be free from one another. However, even though they constantly bicker and fight, there’s something strangely supportive about their relationship. Whereas Eddie needs Venom’s strength and brains to find success, Venom has a difficult time finding another person that can properly host his power. For Eddie and Venom, they begin to understand the importance of the other and sacrifice their wants to make things work between them. In other words, whereas Cletus and Frances fail to find common ground, Eddie and Venom recognize that they need to humble themselves for their relationship to function in a healthy manner.

If that all sounds very strange, that’s because it is. 

But, somehow, it works.

Admittedly, special features on the disc are surprisingly sparse. While outtakes and deleted scenes are expected, the disc is definitely missing a commentary by Serkis to discuss his vision. While he does offer his views in a segment entitled ‘Eddie and Venom: The Odd Couple’, it’s really limited. Even a feature entitled ‘Tangled Webs: Easter Eggs’ that may appear tantalizing for tie-ins for future films lacks meaningful content beyond the obvious teases. (Sorry, Sony. Cletus crushing an actual spider does not qualify.)

With all that being said, Venom: Let There Be Carnage may be utter madness but it also might be one of the best comedies of the year. Wild and wacky, Serkis has bizarrely created an Odd Couple-esque relationship out of one of Marvel’s more sinister villains yet hits the right notes to keep it entertaining. So, bring on another entry.

I, for one, am actually interested to see where this relationship goes.

To hear our conversation with Venom creator Todd McFarlane, click here (audio).

Venom: Let There Be Carnage is available on 4K and Blu-ray on Tuesday, December 14th, 2021.

Star Wars: The Last Jedi -The Force of Hope

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“That’s how we’re going to win. Not by fighting what we hate, but by saving what we love.”

Okay, so millions of people are going to see Star Wars: The Last Jedi, the newest installment of the Skywalker saga. They will go for many reasons: They’ve been following this story for forty years. It is such a piece of popular culture that to not see it would be unthinkable. There are amazing special effects and battles. It is the last film for Carrie Fisher, who died nearly a year ago. Some will go to nitpick the physics. Others will want to consider the mythology around the Force and how that relates to our own ideas of philosophy and religion. This review is primarily directed to that last group.

The film carries the story on from The Force Awakens. The First Order is seeking to eliminate the last of the Resistance. Leia (Carrie Fisher) manages to evacuate their planet just before the First Order ships arrive, but soon the First Order finds them and puts them under siege. Fighter pilot Poe (Oscar Isaac), who is undisciplined and hotheaded, continues to break all the rules as he tries to fight against the enemy.  Meanwhile Rey (Daisy Ridley), a young woman who has an affinity for the Force, tracked down Luke (Mark Hamill) on a remote island. She wants Luke to come back and bring hope to the rebels. Luke refuses, saying the Jedi need to die off. Yet Rey persists to learn more of the Force. And so the battle goes on between the good and evil, but of course, when the Force is involved, light and dark are often at war within the characters more than they are between the armies.

Ever since the series began with what was later named A New Hope, the Force has been the main spiritual aspect of the series. It has a very mystical element.  The description that Luke gives to Rey about the nature of the Force is very close to panentheism—not that God is within all things, but that all things are within God. (But of course the Force is really a religion without a divine being.) Even though some of the characters are more connected to the Force, in reality, all live within the spiritual system of the Force. And so when each character steps up for their time of heroism or villainy, they are acting out their understanding of the Force. It allows even minor characters to bring enlightenment.

There has often been an almost monastic quality to the Jedi. Luke, like Obi-wan Kenobi in A New Hope wears hooded robes. The shelters on Luke’s solitary island are like the stone bee-hive shaped cells of an Irish monastery. Luke has become very like an anchorite, having separated himself from the world. Perhaps this hermit life is a form of penance. He had brought others here to train as Jedi, but when Kylo Ren (Adam Driver), son of Leia and Han Solo, went to the dark side, Luke’s faith in the Jedi philosophy was broken.

In this film, the real Force-related conflict is centered on Rey and Ren. Both have a special affinity for the Force. They are both in a struggle about how the Force is to be used. That good and evil exist in parallel within the Force is part of what makes the Force an interesting examination of the spiritual/theological realm.

Rey and Ren also seem to be connected in some way. While Rey in on the island with Luke, she and Ren begin to see each other remotely and have conversations. Rey recognizes that Ren is deeply conflicted. Ren sees in Rey a person who is searching. Both think the other can be brought over to the other side. There is a complexity to this relationship that opens many possibilities, both for this film and future episodes.

This film spends a good deal of time talking about hope. When Rey finds Luke, it is because she sees him as the embodiment of hope, even though he has essentially lost hope. The Resistance is trying to survive so that they can be the hope to others throughout the galaxy. Hope, in this film, is best seen in the darkest of times. It is not always easy to live in hope. Poe has not learned to hope, so he often acts impulsively. It is hope that sustains the rebels, even as they face sure annihilation. And hope that gives them new insights. It is also the need for hope that opens the door for Episode IX.

For me, the key part of the Star Wars franchise has been the web relationships. Going back to A New Hope, the links between Luke and Leia, Luke and Obi-wan, Han Solo and Leia, Darth Vader and both Luke and Obi-Wan, and R2-D2 and C3PO. In the current set of films (going back to the Force Awakens) new relationships are forming: Rey and Finn (John Boyega), Rey and Poe, Ren and Supreme Leader Snoke (Andy Serkis), and in this film Finn and Rose (Kelly Marie Tran). At the same time some of the older relationships are running their course to a finale. One of my complaints about the Star War series as it’s progressed is that the technological advances in effects has taken the fore and the relationship aspect of the stories has been diminished. As I said, some will go to the film to relish the battle scenes and CGI special effects. Although that is a legitimate reason, I’m not in that group. For me the amount of time blowing each other up is time away from the people and the connections that was so important in creating this franchise.

Photos courtesy of Walt Disney Studios

War for the Planet of the Apes: Hail Caesar!

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Hail Caesar.

Directed again by Matt Reeves, War for the Planet of the Apes picking up 2 years after the events of Dawn and shows that the battle between humans and apes has escalated tremendously.  With multiple casualties on both sides, Caesar (Andy Serkis) is determined to free ape-kind from the attacks of the humans’ relentless military leader Colonel McCullough (Woody Harrelson).  After a human raid on the ape compound ends in tragedy, an enraged Caesar sends his colony away and opts to seek revenge on the Colonel himself.

What has made these most recent entries into the Apes franchise so special has been their heavy emphasis on character.  Through his portrayal of Caesar, Andy Serkis isn’t just compelling as the Ape leader, he practically leaps off the screen as one of the more complex and, yes, ‘human’ characters in a franchise in the last two decades. More than a mere sympathetic character, director Reeves portrays Caesar as broken leader, torn between two worlds.  Despite the fact that he was raised by humans, he isn’t one.  What’s more, he doesn’t fit in with his fellow apes due to his human upbringing.  There is a tension within Caesar that seems to bring conflict into every decision he makes.  Will he succumb to his baser instincts?  Will he seek a path that will cause tension with his own kind?

All of these questions, however, point to Caesar’s very human struggle of wanting to do good but battling his own inner demons.  Unlike many other onscreen sci-fi characters, Caesar could be any one of us.  While there remains a safe distance with many current onscreen ‘heroes’—after all, who has the resources of Batman or the powers of the Hulk? – Caesar somehow remains accessible.  A survivor of abuse, he recognizes that evil has come as a result of a few and not all of humanity.  He has been damaged but struggles to move on. Through his obsession with focusing on the eyes of his characters, Reeves shows the    brokenness within Caesar with a simple glance.  (After all, wasn’t it Shakespeare that claimed that the ‘eyes were the windows of the soul’?)

War puts the conflict within Caesar on full display, as he wrestles with obsession and revenge.  Having endured incredible personal losses, Caesar’s battle with his inner demons takes on a visceral edge as he slowly slides into potential savagery.  Anchored by his visions of Koba, the treacherous ape who led a rebellion in Dawn, Caesar’s desire for peace gradually gives way to his desire to kill.  (In fact, there is even one particular dream sequence that plays out similar to Christ’s experience in the wilderness, with Koba’s voice inviting Caesar to give in to temptation and unleash his hatred.)  While Caesar’s life has been touched by grace through his human friends, the scars of war, hurt and hatred left by others prevents him from fully living.

Yet, in the midst of this dark descent, there lies hope.  Despite the apes’ incarceration in the ‘human zoo’, Caesar’s struggle against the Colonel provides a beacon of light for those around him.  His acts of courage and defiance show his ape family that rebellion against evil doesn’t necessarily mean combat.  It’s interesting to note that Reeves’ desire for this film was to depict Caesar as the ‘Moses’ of ape-kind, leading his people out of the hands of overwhelming oppression.  In this regard, War take on the structure of a biblical epic, buoyed by Caesar’s desire to see his people reach the ‘promised land’ of freedom.  (SPOILER ALERT:  In fact, the film’s destructive avalanche even seems to echo the plight of Pharaoh’s army at the hands of the Red Sea.  SPOILERS END)

Though, unlike Moses, Caesar’s hope is far less secure.  Whereas Moses believed that God would intervene, Caesar’s hope frequently lies within himself.  Aware that he bears responsibility for the ape capture in the first place, he places the burden of freedom upon himself.  However, in doing so, his inner brokenness becomes more evident and he remains paralyzed.  Ironically, it is only after his fellow apes remind him that ‘Apes. Together. Strong’ that Caesar remembers that true hope lies in something bigger than himself and he begins to move towards freedom once again.  (If that doesn’t sound like the beating heart of a Biblical epic, I don’t know what does!)

In the end, the power of this latest batch of Apes films lies in the audience’s relationship with Caesar.  Each film leaves with the question of whether we need a Caesar or whether or not we are Caesar.  His courage and love remain Christ-like at times, yet his brokenness and angst mirrors so much of our own.  With War wrapping up Caesar’s journey, Reeves believes that there are many more stories to tell about this iteration of Apes moving forward.  Still, regardless of where this franchise goes, the impact of Serkis’ Caesar will undoubtedly echo throughout the future.

After all, the life of any good ‘Moses’ would do the same.

Special features on the Blu-ray Combo Pack from Fox include audio commentary by director Matt Reeves, deleted scenes with optional commentary by Reeves, and “Apes: the Meaning of It All,” the in-depth “Waging War for the Planet of the Apes”, “All About Caesar” (the star of the trilogy), “WETA: Pushing Boundaries” on special effects, “Music for Apes,” and “The Apes Saga: An Homage.” 

3.26 Waging WAR FOR THE PLANET OF THE APES

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This week on the show. Steve welcomes back Shelley McVea to battle Caesar and the WAR FOR THE PLANET OF THE APES! While a part of the original franchise, these latest Apes films have gone in an entirely new direction with an intense energy and focus on what it means to be ‘human’. But does Matt Reeves’ claim that this particular entry is meant to portray Ape-leader Caesar as ‘their Moses’ add anything more? Shelley and Steve answer this question and more, only on ScreenFish.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.26 War for the Planet of the Apes

Thanks Shelley for coming back on the show!

Star Wars VII – The Force Awakens: Our History Matters *SPOILERS*

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aforcereyI don’t want to disappoint anyone so please note that “SPOILER” is clearly in the title. I not-so-fondly remember the Friday morning when the first Avengers film came out. I was minding my own business – wearing a Captain America shirt – in Target, when I was approached… and BAM!

“Man, isn’t it crazy that they killed off Agent Coulson?”

I started in disbelief and silence at the man as he walked away, in ignorant bliss. I hadn’t seen the film yet, and the heart of the film had already been ripped out an exposed.

So, just to be clear, this Star Wars: The Force Awakens review contains major plot points.

Before we get there, let me just say that I found the film to be beautifully conveyed, with a narrative that matched the tone, style, and pace of the original trilogy. In fact, it was a simplified plot that allowed the character development to deepen the action rather than glorified political bickering and grandstanding that work fine in House of Cards or Scandal, but which turned the prequels into some heavy-handed clunkers. Capturing that lyrical storytelling style, J.J. Abrams’ and company also found a way to reel back in the ‘old school’ look of the various planets that the narrative took us to — the snowy final act was one of the best looking sets in a film I saw this year.

aforcewookieQuick non-spoiler hits to give you a chance to turn back now…

BB-8 wasn’t as annoying as I expected. Okay, I’ll admit it: he was no Jar-Jar, and was more huggable than most Ewoks.

The cast’s diversity was a strength, not an add-on. Whether it was a central black character or the depth of options for women, The Force Awakens proved that it wasn’t all about white male superiority.

You could probably enjoy this one without seeing any of the others. But it wouldn’t be as much fun, so why would you?

John Williams’ score is again simply fabulous.

Now, to the plot points…

aforcedarthAs a fan of the oldest trilogy, it was delightful to see the old crew back at it, and to recognize that there were several set pieces that were mimicked from previous films. While the film did finally deviate from being a straightforward copy of the Battle of Endor, it was at times off-putting to find that we were watching a mirrored image from somewhere else. I was thinking of Gandalf versus Balrog, but honestly, things went better for Harrison Ford the last time he stood on a bridge…

Ironically, it’s that scene that I saw telegraphed from the first third of the film. While the Internet has been buzzing with anger over the preposterous suggestion that someone might leak information about the film, it struck me as completely “unshocking” that Han would die at the hands of his son – who we knew early on was Kylo Ren. Ren’s temper tantrums mixed with the Force tied him to both Leia and Han, and reflect the failure of Luke as a teacher in his first attempt (setting up his redemption as teacher in the second film?) Ironically, or not…. Luke’s visual appearance reflects that of Obi Wan Kenobi in A New Hope: he’s isolated, bearded, reclusive, and dismissive of the Force and its application. But that, and the probable reveal that Daisy Ridley’s Rey is in fact his sister. [Editor’s note: We’ve seen this before and Timothy Zahn’s post-Jedi trilogy included that plot point.]

For all of its flash and sparkle, The Force Awakens plays out like Star Wars should, and certainly like a Disney film. There are dysfunctional kids, dysfunctional parents, and the quest to find the family who left you behind. It’s just ironic that rather than letting this meander around, Abrams actually went for it and pulled off his own Oedipal moment. The end result is one I expected, but it also sets us up to see the conflicted pain of Ren and the potential future clash with Rey. Thankfully, here, Abrams’ sequel proved to be more open minded to both women and minorities; by herself, Ridley’s portrayal would have provided the necessary ‘juice’ to make us care, but she was not alone.

aforcefinnThat said, Ridley wasn’t alone. On one side of the equation, she had Finn (John Boyega), who provided a depth to stormtroopers we hadn’t seen in the films before. His recognition that war was dangerous, and that the First Order was not just, leads him to first a Han Solo position (the good for the sake of self) to the Luke Skywalker position (the good for the sake of friends … and for all). Finn’s development was a testimony to the script but also to Abrams’ casting of this fine, young actor and his portrayal. Finn made us care because he had seen evil from the inside, and been prey to its bullying and manipulations. Recognizing that evil, Finn’s desire to do good is redemptive, but it’s also braver – he knows what is at stake. Interestingly enough, if he was stripped of his parents and raised to fight for the First Order, then it is ultimately his nature that dominates his nurture, right? That could lend itself to a completely new conversation about the nature of humanity, the fall, and grace, too.

Ren is of course the flip side to this. Ren’s conviction in the direction of the eerily absent Supreme Leader Snoke (Andy Serkis) is creepy. (Snoke looks incredibly like a decomposing Voldemort, who has been kept alive by hate and bitterness. Is he the manifestation of evil?) He knows he’s being manipulated, but he specifically prays to the spirit of his dead grandfather to help him eradicate the light in his own heart. I know that Adam Driver has given interviews where he worked to create the idea that Ren wasn’t evil, but even before his final acts of violence, he’s literally aware that good/light is better and he’s turning toward the darkness. [For a Biblical comparison, the Pharaoh rejecting Moses’ pleas on behalf of God use the phrase “hardened his heart,” implying his desire was evil and God allowed him the resilience to stay that way. Ren seems like that.] This also shows that his grandfather’s final act of “good” – and his place in the dead Jedi pantheon – has not offset the way that Snoke uses Ren to think about the world, or how Ren remembers his own history.

What is clear is that the history of Star Wars includes peaks and valleys of times when the Force was prevalent, and times when it was left dormant. Is that because it wasn’t needed? Is that because people had forgotten the Force, their heritage, or their history? Is it because there really are a limited number of people who can wield it? Time will tell for sure, but the history of the Force is what bonds the stories, and our collective understanding of what is going on, together.

That history, and the backstories of Finn and Rey, will have to remain for another day. We don’t know exactly how they will play out yet, but we know that they will ultimately matter because they are still seeking. They are seeking opportunities to grow, people to mentor them, and family to surround them – those same things which we seek today. In the case of Finn, Rey, and Ren, others have stepped in where family did not or could not, and altered their worldview to reflect things that weren’t true. By seeking out the Force, each of them comes to a place of choosing what to believe and who to follow. They are faced with the same decisions we experience everyday.

And we must choose wisely.

Star Wars: The Force Awakens Andy Serkis Role Revealed

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StarWars_AndySerkisEver since Andy Serkis was cast for Star Wars: The Force Awakens, many have been wondering who he will play. All that wonder is over as the folks over at StarWars.com have revealed it along with an exclusive Vanity Fair photo (seen above) of Serkis in his motion-capture garb.

Andy Serkis will be playing the role of Supreme Leader Snoke. We still don’t have many details, but at least fans can now fill the interwebs with ideas about who this leader is and what “stuff” he’s actually been through.

What do you think? Are you excited to see what the character will be like and how Serkis brings him to life?