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    Movie Review

    Venom: Let There Be Carnage is one blunder after another

    Alex Bentley
    Sep 30, 2021 | 2:34 pm
    Venom: Let There Be Carnage is one blunder after another
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    Of all the various comic book characters to get their own showcase during the superhero era, Venom has to be one of most unlikely.

    The character first popped up as a villain in 2007’s Spider-Man 3 with Topher Grace as Eddie Brock/Venom, but made little impact because of the quality of the film and Grace’s performance. Tom Hardy took over the role in 2018’s Venom, a poorly reviewed but hugely successful film that took in $856 million worldwide.

    That box office — and an end credits teaser featuring Woody Harrelson — ensured there would be a sequel, which now arrives with the somewhat clunky title, Venom: Let There Be Carnage.

    After unsuccessfully trying to purge the symbiote Venom from his system in the first film, Eddie Brock spends his days mostly trying to satisfy the never-ending hunger of Venom. He halfheartedly accepts an assignment to interview Cletus Cassidy (Harrelson), a murderer who’s set to be executed.

    That visit proves disastrous, however, as an altercation allows Cletus to get a bit of Eddie’s blood, transforming him into Carnage. Cletus/Carnage proceeds to escape and go on a destruction spree, all while searching for his long-lost love, Frances/Shriek (Naomie Harris), who spent time with him in an institution. Naturally, only Eddie/Venom will be able to protect the city and those he loves, including former fiancée Anne (Michelle Williams), from the vicious pair.

    Directed by Andy Serkis and written by Kelly Marcel, the film is an incoherent mess from beginning to end. It’s clear that Venom is supposed to be a funny character, with his insatiable appetite and inappropriate comments, but the way he’s presented is far from entertaining.

    Much of this has to do with the god-awful CGI; perhaps having a being that’s constantly coming out of and surrounding the lead character was always going to be tough to present, but it’s still shocking just how bad it is.

    Even worse than the imagery is the complete lack of an interesting story. Hardy has a story credit and serves as one of the producers for this film, so he was clearly invested in trying to make it good. But he, Marcel, and Serkis failed miserably, serving up a bland, confusing storyline and allowing Harrelson and Harris to overact shamelessly. Save for a couple of mildly humorous one-liners, the script does nothing to liven things up, either.

    It’s strange that Hardy was chosen to play this role, as he doesn’t seem to have the energy that Eddie is supposed to have. Hardy has mostly been known for his intensity in films like Inception, The Dark Knight Rises, and Mad Max: Fury Road. Watching him try to be reserved, twitchy, and a little goofy is painful, as his natural demeanor is not a good fit for those traits.

    As previously mentioned, Harrelson and Harris go way over the top in their respective roles, and even though they’re the villains of the film, their lack of restraint is galling. Williams — who, it should be noted, is a four-time Oscar nominee — is once again wildly out of place, and even she can’t save her nothing of a role.

    Venom: Let There Be Carnage is even worse than the dog of a film that was the original. I’d love to say that this is the last we’ll see of the character, but an end credits teaser strongly hints at a return very soon. Maybe that appearance will make him enjoyable, but I doubt it.

    ---

    Venom: Let There Be Carnage opens in theaters on October 1.

    Tom Hardy in Venom: Let There Be Carnage.

    Tom Hardy in Venom: Let There Be Carnage
    Photo courtesy of Sony Pictures
    Tom Hardy in Venom: Let There Be Carnage.
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    Movie Review

    Great acting and directing drive The Christophers to artistic heights

    Alex Bentley
    Apr 17, 2026 | 1:59 pm
    Michaela Coel and Ian McKellen in The Christophers
    Photo by Claudette Barius
    Michaela Coel and Ian McKellen in The Christophers.

    Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.

    Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.

    Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.

    Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.

    Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.

    While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.

    Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.

    Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.

    ---

    The Christophers is now playing in theaters.

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