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Michelle Williams

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

December 14, 2021 by Steve Norton Leave a Comment

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.

Filed Under: Featured, Film, Reviews, VOD Tagged With: Andy Serkis, Carnage, Marvel, MCU, Michelle Williams, Naomie Harris, Sony, spider-man, SPUMC, Tom Hardy, tom holland, Venom, Venom: Let There Be Carnage, Woody Harrelson

All the Money in the World – What Are Riches For?

January 4, 2018 by Darrel Manson Leave a Comment

“Everything has a price. The real struggle in life is to determine what that is.”

How do you determine the price of the important things in life? That question lies in the background all through All the Money in the World. “Inspired by true events”, it is a thriller based on the 1973 kidnapping of a grandson of “the richest man who had ever lived”, J. Paul Getty. But it is also an examination of the way money can shape or distort our lives.

J. Paul Getty III (Charlie Plummer) is kidnapped off the streets in Rome. When the kidnappers call his mother Gail (Michelle Williams), her first reaction is that it is a joke. Paul has often joked that faking his kidnapping would be a way to get money from his tight-fisted grandfather and namesake (Christopher Plummer). The elder Getty enlists the aid of a former CIA operative, now his head of security, Fletcher Chase (Mark Wahlburg), to get young Paul back. When Getty is unwilling to part with any of his fortune for Paul’s return, Fletcher and Gail become allies in trying to get save Paul.

The thriller aspect of the film, with various twists along the way, is compelling to keep our interest, but that just serves to lead us to consideration of the role money has in our lives. Do we see it as a means to an end? Can we use money to achieve happiness or to buy things we want? Or is money an end in itself? Does having wealth fulfill us?

Although Getty is exceedingly rich, in this film we see him as a miser. An early scene shows him in his lavish Roman hotel suite, with his laundry draped over bathroom fixtures. Why pay someone to do that? he asks. When he eventually does pay the ransom (negotiated down over several months while Paul is held captive and facing brutal treatment), it is based on what he can write off on taxes and as a loan to Paul. He uses his wealth as a weapon to punish Gail for the divorce settlement with his son.

Getty, at least as portrayed in the film, uses his vast wealth to acquire great art. He places his trust (and his hope for fulfillment and happiness) in possessions. He does not expect people—even his family—to provide those things. He only trusts in the tangible. The attitude that money has inherent value and should be obtained is something that Getty has in common with the kidnappers. They all consider money as more important than people. For Fletcher Chase and Gail Getty, money is only valuable for what can be done with it—and especially done to aid someone in need.

Wealth is a topic that comes up frequently in the Bible. At times it is seen as evidence on God’s blessing, but it is frequently seen as an illusion or even as a hindrance in our relationship with God. Some scriptures that could be appropriate to consider in thinking of this film:

  • The lover of money will not be satisfied with money; nor the lover of wealth, with gain. This also is vanity. (Ecclesiastes 5:10)
  • It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God. (Mark 10: 25 and parallels)
  • The Parable of the Rich Fool in Luke 12: 16ff
  • The love of money is the root of all evil (1 Timothy 6:10a)
  • For the sun rises with its scorching heat and withers the field; its flower fails, and its beauty perishes. It is the same with the rich; in the midst of a busy life, they will wither away. (James 1:11)

Our attitude towards riches often shapes our spiritual lives just as much as it provides the trappings of our day to day lives. All the Money in the World gives us a chance to reflect on how our approach to money affects the way we understand so much more.

Photos courtesy of All the Money US, LLC

Filed Under: Film, Reviews Tagged With: Charlie Plummer, christopher plummer, inspired by true events, Italy, J. Paul Getty, kidnapping, Mark Wahlberg, Michelle Williams, Money, Ridley Scott

Manchester By the Sea – Moving through Grief and Pain

February 21, 2017 by Darrel Manson Leave a Comment

Lee Chandler (Casey Affleck) spends his days as a janitor in Boston. It’s not a great job, but it provides him with what he needs. Still, there remains an anger within him that comes out in inappropriate ways from time to time. When his brother Joe (Kyle Chandler) dies, he must return to his home town of Manchester to deal with the arrangements. It’s not a place he wants to be—for a number of reasons. Manchester By the Sea is a story of moving through grief and finding new ways to face life.

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Besides the funeral arrangements, Lee learns that Joe has named him guardian of Joe’s teen age son Patrick (Lucas Hedges). Lee really wants nothing to do with this responsibility because he doesn’t want to stay in Manchester. He is well known around the town. For many, he is “the Lee Chandler”. He also runs into his ex-wife Randi (Michelle Williams), which is awkward as Lee is trying to forget the pain they share. As the story progresses, we see what his life here was like. He was happy once but, a tragedy destroyed his life here, eventually leading him to the anonymity of Boston. Lee and Patrick must find the balance that allows them each to have the kind of life that will suit them. For Patrick, it is to find his way into adulthood. For Lee, however, it is how to find his way back out of his anger and pain.

In some ways, this is a slice-of-life story of a family in grief. It is a disconcerting experience that triggers emotions in strange ways. For example, since the ground is frozen, Joe can’t be buried until spring, and Patrick is distressed that his body will be kept in a freezer until then. As Lee comes to terms with his new responsibility there are plans that must be made, but they are the very kinds of responsibilities from which he has been running. While the road is difficult, Lee and Patrick find new ways to approach the trials before them.

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Lee’s struggle is the real focus. It is only as we slowly learn the cause of his pain and anger that we can appreciate just how hard it is for him to return to Manchester and family life. The anger that, at times, comes to the surface in his life is really his anger with himself. His tragic mistake is something he cannot bring himself to forgive but, because he is thrust back into life with people who he loves and who love him, he is forced to come to terms with who he is and find ways to live with himself and his past.

Special features include a conversation with writer/director Lonergan, the making of featurette “Emotional Lives,” and some deleted scenes. 

Filed Under: Film, Oscar Spotlight, Reviews Tagged With: Best Actor, Best Picture, Casey Affleck, grief, Kenneth Lonergan, Kyle Chandler, Lucas Hedges, Michelle Williams, Oscars

Surviving Winter’s Dream: An Interview with Timothy Lee DePriest

October 30, 2016 by Steve Norton Leave a Comment

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Timothy Lee DePriest isn’t new to the Hollywood scene.

With guest roles in shows like Sons of Anarchy, Southland, and many more over the years, he’s more than familiar with the challenges of breaking into the industry. However, with starring roles in the sci-fi film, 2307: Winter’s Dream, and HBO’s mega-hit series Westworld, DePriest has finally stepped into the limelight. With all the attention, he admits that the sudden notoriety has been somewhat overwhelming.

“I’m [thinking] ‘What just happened to me?’” he remarks. “That [first] Westworld episode aired on a Sunday. On the Wednesday, I got a call from a director that wanted to meet me and that’s never happened to me before. It’s just so weird.”

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“Just to be on set with Ed Harris, Evan Rachel Wood, Geoffrey Wright, you learn so much. You see how it’s really done. Ed Harris is the coolest guy in the world and it just looks effortless to him. He’s just being [so] natural. So, that came along around the same time [as 2307] and it takes a couple of years so I wasn’t even sure what would happen with those things.”

With the release of 2307: Winter’s Dream, DePriest continues his work within the sci-fi world. Still, what excited him most about the project wasn’t the post-apocalyptic storyline or the epic action scenes. For him, the most appealing aspect was the opportunity to work with director Joey Curtis.

“I was really excited because [of] Joey,” he responds. “When I first learned about the project, just hearing his name and that he was involved with BLUE VALENTINE was a big sell for me because I love that movie. I’m always looking to do more quality stuff.”

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 2307: Winter’s Dream takes place in the year 2307—or 141 years ‘after man killed God’—as earth has become a barren, frozen wasteland. Forced underground by the extreme cold with a depleted population, mankind creates the ‘Humanoids’, superhuman slaves bio-engineered to stand up to the harsh conditions. When rogue humanoid named ASH-393 escapes from captivity, a team of elite military operatives, including Ishmael (DePriest), is sent into the ice-covered wilderness to eliminate the leader and the ensuing Humanoid threat.

Although science fiction isn’t necessarily his favourite genre, DePriest admits that the chance to star in films like this (or series such as Westworld) is something that he really enjoys and wouldn’t want to pass up.

“It’s odd because the films I like—and the reason I got into the business— are these scrappy, weird little films like Beyond the Valley of the Dolls, I love Jim Jarmusch’s early films, Aronofsky, Jonathan Glazer, Noah Baumbach. I like these indie, character-focused films but, of course, I love to have fun. When you’re doing sci-fi, you’re [basically] playing a superhero and that is extremely fun.“

Of course, ‘fun’ isn’t always the case when shooting a film like this, especially when it takes place in the midst of a glacial, post-apocalyptic desert.

While many of the indoor scenes were shot in a Los Angeles studio—DePriest muses that it was funny to be wiping away their sweat “because we were all bundled up shooting in Southern California”—the majority of the film takes place outdoors.

In the middle of nowhere.

In the snow.

Amazingly, the director found what he needed in an almost unexpected location: Buffalo, New York. Filming shortly after the infamous ice storm of 2014, DePriest explains that they were able to get the right effect by shooting on top of frozen Lake Erie.

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“We had to wait until we could actually physically go there,” he recalls. “[Due to the weather], we would have died because it was so cold. We came in the spring but it was still cold, and we shot on frozen Lake Erie. We were just outside Buffalo and we stayed in the cabins [of a nearby Christian camp]. The lake was right behind there and they would take us a mile out in snowmobiles to the sets that they’d built out there and we shot on Lake Erie. It was about negative 20 with wind chill. I was wondering how they would do that and it made so much sense being out on a frozen lake. It looked like there was no one out there. It was such a great location.”

With this in mind, DePriest also feels that science fiction also opens up doors for conversations about our current culture as well. In other words, while the film maintains an aura of fun, he also believes that 2307 also speaks to issues about human rights and how we treat the disenfranchised in our world.

“I had a friend who just came back from Greece and she was working with Syrian refugees. We’re all trying to find a place and, man, when you’re not wanted. Her frustration was that nobody wants these people. Why don’t we want them and how do we deal with that? It’s kind of the same deal with the humanoids. We created them and we think we own them and that we can just toss them out.”

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Somewhat ironically, while 2307 claims to take place in a time after ‘man killed God’, the film also lands on a distinctly existential question by asking who has the right to a ‘soul’. Although he, himself, doesn’t hold any specific spiritual worldview, DePriest also recognizes that this search for the soul can be a source of hope and healing.

“I went through a really dark time in my life where I was going off the rails in Hollywood, throwing myself into every excess, and I kind of hit a wall. The only thing that saved me was kind of going within. I guess that… every religious practice is like that where you try to find meaning and that soul within is probably a good place to start. For me, that’s what it feels like.”

With a hard-working attitude and a strong sense of hope, Timothy Lee DePriest seems ready to leave his mark on Hollywood. From Westworld to 2307: Winter’s Dream, he is grateful that he continues to have the opportunity to tell stories that matter.

photo by Audi England

Filed Under: Film, Interviews, SmallFish Tagged With: 2307, Anthony Hopkins, Aronofsky, Aronovsky, Blue Valentine, Ed Harris, Evan Rachel Wood, Geoffrey Wright, humanoid, Michelle Williams, Noah Baumbach, Ryan Gosling, Sons of Anarchy, Southland, Timothy Lee DePriest, Westworld, Winter's Dream

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