CRITICS. A crazier ‘Venom’, a teenage Tony Soprano and more movie premieres
The advance in vaccination and the decrease in fatalities this week encourages the exclusive launch in theaters of several titles that would not have had the same opportunities in a different period, although there is at least one large title that premieres simultaneously on platforms due to previous dealings. These are the cinematographic novelties that you will be able to find from tonight.
VENOM: LET THERE BE CARNAGE
Director: Andy Serkis
Reparto: Tom Hardy, Michelle Williams, Woody Harrelson
Genre: Action / Superheroes
I’ve read someone out there who has said something similar, but I think the same: if you liked the first adaptation of 2018, you will like this one; and if it was not like that, you will not like this either. And, instead of suddenly adopting a much more serious and profound perspective in its approach to the Marvel character created in the mid-’80s, “Venom: Let There Be Carnage” (which opens only in theaters) reinforces the aspect silly and shallow of its predecessor, which can be good news or bad news depending on the viewer.
It can be said, first of all, that it is a work consistent with the original premise of the saga, which was not entirely negative for someone like me, who entertained a lot with the debut delivery despite its lightness and that came to laugh at some of his scenes without really meaning to. In that sense, the current film intensifies the comic aspect, especially with regard to the dialogues that occur between investigative journalist Eddie Brock (Tom Hardy) and the alien symbiote, to the point of reaching a saturation that can be difficult to bear; but that is what makes her so delusional, that is, a characteristic that for me does not necessarily have a negative meaning.
At the beginning of the new story, Block is still ‘tied’ to Venom, with whom he maintains a love / hate relationship that develops throughout the film; But, in addition to having to face unrequited romantic feelings for his ex Anne (Michelle Williams), he now faces the devastating threat of Carnage, an even more aggressive alien who enters the body of Cletus Kasady (Woody Harrelson) , a serial killer who is about to be executed.
Hardy, who has shown tremendous acting skills in titles such as “Bronson” and “The Revenant,” continues to play a likeable Brock, but too superficial to generate any real enthusiasm, although his good chemistry with Williams (always great) it gives an unexpected tenderness to what is told. And while Harrelson doesn’t do anything too different from what was already seen in “Natural Born Killers,” the villain he plays has some interesting nuances, such as recreating his past using a particularly striking animation technique that looks much more natural. than the endless CGI parade with which the numerous action scenes are built.
THE MANY SAINTS OF NEWARK
Director: Alan Taylor
Reparto: Alessandro Nivola, Leslie Odom Jr., Michael Gandolfini
Genre: Drama / Mafia
The producers of “The Many Saints of Newark,” which opens simultaneously in theaters and on HBO Max, have said time and again that you don’t have to have seen the original series that inspires this film to enjoy it. They don’t lie, of course; but anyone who is really familiar with “The Sopranos” (the series in question, which aired between 1997 and 2007) will enjoy much more a film that arrives loaded with references to the television program and that, without being a masterpiece, would have to be greatly enjoyed by fans of the same HBO show.
That’s at least what happened to me, especially since I actually finished watching the series a few weeks ago (it was an outstanding debt of several years) and because the film, which has been written by the creator of the same show, David Chase, maintains the same rebellious, funny and aggressive spirit as he introduces us to several of the characters we already knew (including the protagonist Tony Soprano) in much more youthful versions and, of course, in interpretations of other actors, all of them competent.
In this sense, the greatest charm of the feature film, which takes place between the ’60s and’ 70s, is to see the little-known Michael Gandolfini playing the famous character entrusted to his late father, James; not bad at all. But the protagonist of the story is “Dickie” Moltisanti, a character that was only talked about in the series and who, in addition to being a kind of tutor for Tony, constantly shows his charisma and his ravings with the support of his excellent interpreter, Alessandro Nivola. Finally, in view of the enormous expectations, the film (which lasts 2 hours and is set in an interesting social context of racial tensions) leaves you wanting more, but it is never boring.
Directora: Julia Ducournau
Cast: Agathe Rousselle, Vincent Lindon, Garance Marillier
Genre: Horror / Thriller
The most risky and stark proposal of the week is without a doubt that of “Titane”, a French film that comes preceded by major achievements (it received the Palme d’Or in the most recent edition of the Cannes Film Festival), but which has also generated reactions most contrasted due to its generous use of levels of violence and provocation that are gratuitous for its detractors.
In short, if you don’t have a weak stomach, if you are not unduly disturbed by disturbing films and if you are particularly interested in ruthless but artistically talented ‘body horror’ stories, you cannot miss this production, centered on Alexia ( Agathe Rousselle), a young ‘showgirl’ who, after suffering as a child in a car accident that left her with a highly visible scar on her head, has developed particularly perverse sexual inclinations, as well as an insatiable appetite for the murder of innocents.
“Titane”, which is released only in theaters, is the direct daughter of David Cronenberg and, more precisely, of his adaptation of “Crash”; But, in the midst of excesses that frequently affect her credibility, she is distinguished not only by having a very own visual personality, but also by resorting to a feminine turn that owes a lot to her director and screenwriter Julia Ducournau, who has already caused all kinds of reactions to his impressive debut feature “Raw” (2016). And the courageous histrionic efforts of Rousselle must not be overlooked, as she constantly exposes herself both physically and emotionally in a work that is as difficult to see as it is fascinating.
THE ADDAMS FAMILY 2
Directors: Greg Tiernan and Conrad Vernon
Voces: Oscar Isaac, Charlize Theron, Chloë Grace Moretz
Genre: Animation / Family
In the middle of a billboard of premieres mainly inclined towards the adult public and violence, “The Addams Family 2” (available only in theaters) comes to us, an animated film loaded with innocence and with an evident family tendency that responds anyway to the requirements of the Halloween season due to its supernatural theme and its ties to the fantasy genre.
We are facing the sequel to a 2019 production that, frankly, I have not dared to see until now, which led me to have little or no interest in a second part. And although I still have not seen the first one, I must admit that this continuation of the saga did not completely displease me and even made me have some good moments, beyond the use of blatantly commercial resources, including a main song in the one that Maluma participates (!).
Here, the familiar family embarks on a journey through the United States under the guidance of Gomez (voice of Guatemalan Oscar Isaac) in order to cheer up little Wednesday (voice of Chloë Grace Moretz), who is more depressed than usual. The tour has several comedic moments (some more effective than others) and some valuable winks to the adult audience, such as those referring to the movies “Jaws” and “Carrie”, which means that older adults will not be completely bored sitting down. to see the movie.
Director: Amalia Ulman
Cast: Amalia Ulman, Ale Ulman, Nacho Vigalondo
Genre: Dramatic comedy
The Hispanic proposal of the week comes from the hand of “The Planet”, a Spanish production that premiered last week in New York, which launches tomorrow in Los Angeles (thanks to its scheduled exhibition at the Westwood Landmark) and that It will be available in digital format from the 8th of this month.
If you are interested in independent films spoken in our language that have good stories but dispense with unnecessary complications, you cannot miss the debut film as director and screenwriter by Amalia Ulman, a young Argentine artist raised in Spain who also takes on the leading role of Leonor. , an unemployed girl who lives next to her mother María, a recent widow who also does not work and who is played by Ale Ulman, mother of Amalia herself.
Leonor and María, who in spite of their sporadic fights seem to get along very well, they live in a hurry, they have almost nothing to eat and are about to be evicted from the small department of Gijón where they live; But when they go out, they appear to be people of a lot of money and spend what they do not have on luxurious clothes, resorting to deception, theft and loans managed mainly by a Maria whose sense of responsibility seems non-existent.
Despite the fact that the subject matter lent itself perfectly to an unleashed drama as the situation shown is depressing, the style of the film, which is all black and white, leans mostly towards comedy with absurd edges while developing in a way The relationship between two utterly dysfunctional women who never cease to be sympathetic to us is compelling, which is especially surprising given that this is the first role of the older Ulman.