I don’t think I’ve better empathized with hearing loss and deafness than with Sound of Metal, a moving and observant drama about a heavy metal drummer quickly losing his sense of hearing. Riz Ahmed (Nightcrawler) plays Ruben, a former junkie who is four years sober and worried about losing his girlfriend/band mate (Olivia Cooke) with his recent diagnosis. He’s attending a treatment center meant to cater to a deaf community and transition others into this community. Ruben is defiant, depressed, angry, all the stages you can imagine with grief. The movie is at its best during its quiet and contemplative moments where we empathize with the terror and alienation of Ruben. When he first joins the center, we don’t get subtitles for the many signed conversations between members. It’s only after Ruben learns ASL, integrates into the community, and opens himself up to the program that we too get to be knowledgeable. The sound design is exceptionally utilized to illustrate Ruben’s changing perspective, and some later choices with it might make you long for the peacefulness of silence. The movie is exquisitely thoughtful and considerate while maintaining a subtle, character-driven approach that keeps things from wallowing in self-pity. For many of the deaf, hearing loss isn’t seen as a disability but a community with its own culture and quality of life. It’s understandable that Ruben is focused on loss but the movie doesn’t dwell in loss, more so transformation and acceptance. Ahmed is fabulous in the lead role which requires him to rely primarily upon non-verbal expression for extended periods. His eyes are his best vessel for communicating Ruben’s emotional state, and Ahmed is sensational. Paul Raci is also great as the leader of the treatment center and the responsibility and generosity he feels to those in his care. Sound of Metal is an immersive, sensitive, authentic and poignant drama with an Oscar-caliber lead performance and a depth of compassion for the many people of the deaf community.
Nate’s Grade: B+
Sony does not have a sterling track record of late when it comes to their superheroes. After the dismal response to 2014’s Amazing Spider-Man 2, Sony reached out to the creative team at the Marvel Cinematic Universe (MCU) to better guide their flagship property. A solution was worked out wherein the MCU would essentially make a Spider-Man movie and borrow the character for their own films and Sony would reap the profits, and it worked wonderfully with 2017’s Spider-Man: Homecoming. Now Sony seems to be falling into a similar trap, getting ahead of themselves with an itch to build a larger superhero universe of properties. Venom is a fan favorite Spider-Man villain, so to give the guy his own movie even without Spider-Man is already a risk. The ensuing Venom solo film is a big gooey mess of a movie that needed to decide whether it was going to be scary, funny, goofy, serious, PG-13 or R-rated, or good or bad.
Eddie Brock (Tom Hardy) is an investigative reporter who has relocated from New York to San Francisco. He’s got a cushy job, a loving fiancé (Michelle Williams), and he loses it all thanks to his ego and drive to uncover the secret experiments of a wealthy Elon Musk-esque business magnate, Carlton Drake (Riz Ahmed). Then Eddie discovers the secret of Drake’s lab, an alien symbiotic substance that crashed on Earth. It bonds with Eddie and appears in his head as a guttural voice egging him into bad behavior and the hopeful munching of heads and bodily organs. Eddie must learn to work with his new partner to thwart Drake and another alien symbiote with plans for world domination.
Venom struggles to separate itself from the plethora of superhero films out there and forge an identity of its own, unfortunately without Spider-Man and the larger Marvel world. It’s even in the tagline: “The world has enough superheroes.” If this is the anti-superhero movie it can’t pull that far apart. The set-up was there for something potentially different. Venom could have been the villain instead of merely an anti-hero, with Eddie Brock wrestling with his inner demons in a way that evoked the classic tortured duality of Jekyll and Hyde. I think that approach certainly would have brought out more from director Ruben Fleischer (Zombieland, Gangster Squad). Instead the filmmakers assert that their goo-laden superhero is a bit edgier, a bit looser with the ethics of justifiable homicide when it comes to snacks, and to make it certain they employ a clear-cut villain who has even less compunctions so as to make Venom look better in comparison. This is a pretty lazy anti-hero archetype that follows the superhero formula to the core. If the Venom symbiosis was presenting problems in Eddie’s life, or presented a lethal force that tempted him to the dark side that needed to be tamed or at least withheld, that would be one thing, but it’s the same-old tool for empowerment. Thanks to the Venom alien, Eddie is able to stand up to bad guys he shrunk from before. Thanks to the Venom alien, Eddie is able to be a better reporter and reactive citizen. Hooray. For a movie that advertised there were too many superheroes, they just flatly rolled out another.
The major problem with Venom is that nobody seems to be on the same page as to what kind of movie they are making. Firstly, Tom Hardy seems to think he’s making his own version of Jim Carrey’s The Mask, hamming it up to great comic effect, stuttering and sloshing his way from scene to scene. This movie would be vastly less interesting if it was not for Hardy and his committed performance of borderline Nicolas Cage-style nuttiness. The film became that much more entertaining once Venom and Eddie were bonded and Hardy had to reconcile the back-and-forth in his head and in public. There are moments that I’m almost convinced the movie is asking its audience to laugh at it and Hardy rather than with it, like when he takes a dip into a lobster tank to cool off. It made me think of All of Me but with an alien parasite. The buddy comedy aspect and interaction was a highlight. The movie is better when it either embraces its goofy elements or at least pretends not to be as serious. The serious version of this movie seems to infect most of the supporting players, notably Williams and Ahmed. Poor Michelle Williams (Manchester by the Sea) is another underrated love interest, and in the one scene where she does have agency and power, she immediately gives it back over to Eddie. Ahmed (Rogue One) just looks lost, going from overblown monologue to confusing monologue, making it hard to grasp what his motivations are from scene to scene. Is it space exploration, conquering, or saving the Earth? There’s a part at the end confrontation where Ahmed and Hardy are literally fighting one-on-one and it’s hilariously mismatched. There’s no way a tiny guy like Ahmed would be able to contend with Hardy in a fistfight. That’s the more unbelievable moment yet.
The story has many shortcomings and logical constraints that exist for sloppy stalling purposes. Take for instance the opening scene where a U.S. space shuttle crashes back to Earth and lands in Malaysia (have the people of Malaysia suffered enough downed aircraft?). One of the four alien symbiotes escapes and latches onto an EMT worker, taking control of her body. We then flash forward six months and Drake’s company is testing the symbiotes and having poor results, losing all but one that bonds with Eddie Brock. Why even have four of these things? Why have two to eventually die off-screen when one would do? But really why have any of this setup? The Bad Guy Symbiote is effectively stranded in Malaysia for six months until it figures out that little white girls are the ticket to slipping past airport security guards (and I guess stupid secret lab guards as well). Why not have the breakaway symbiote be the Venom one? Why even have the means of their arrival crash in Malaysia if they’re all just winding up in San Francisco anyway? The only logical answer is the filmmakers wanted the Big Bad sidelined long enough to set up more plot, but it’s so sloppy. The same can be said about how Eddie eventually ends up face-to-face with his special symbiote. Jenny Slate’s (Gifted) scientist character is to sneak Eddie into the lab, without her supervision of where to specifically go, and for him to… take pictures of the suffering test patients? Why does she need an intermediary to take pictures? Why can’t she do this and then submit them to Eddie? If she fears that the tests are as dangerous, why does she let Eddie stumble around? When the bad guys initially give chase they use flying drones as their killer weapons. I figured they would use these aerial machines to fire at Eddie as he speeds away on his motorcycle, but no, instead they use them as kamikaze bombs. How is that effective? Why do the good people of San Francisco seem to shrug at a series of bombs going off around their city? This is pretty much the definition of modern terrorism. How about when the Venom symbiote goo is separated from Eddie and he’s taken away, and the symbiote has to escape from a hospital and it has a choice of small dog or human being as its escape vehicle… and it chooses the small yappy dog. The movie is littered with these kinds of head-scratchers and leaves the overwhelming impression that much of this story and ensuing production was thrown together in the most haphazard fashion.
The action and special effects are also pretty messy and lackluster. The Venom alien goop just looks like Hardy is constantly dripping black paint. The effects do not look drastically improved from when we first caught glimpse of a big screen Venom in 2007’s Spider-Man 3 (though no candy corn fangs). There’s a lengthy attack sequence between Venom and an entire squad of SWAT officers that takes place in the haze of a teargas cloud. It’s meant to evoke a sense of horror as Venom pops up randomly, except it just makes everything too chaotic to maintain interest. Too many sequences take place at night to obfuscate the special effects work. The final act is the worst part as Venom faces down another symbiotic goo-monster, and it ends up being a clash between a black-skinned goo monster and a grey-skinned goo monster outdoors at night with quick camera edits. Good luck trying to comprehend what is happening on the screen. It’s such a bleh villain as well, just a bigger slightly more evil version of Venom, and its world-dominating plan involve bringing the other symbiotes to Earth, which will take, by my calculations, at least a few decades, at best, of space travel time. It’s one last noisy, dumb moment in a movie filled with loud and dumb moments to pass the time.
I still can’t find a straight answer whether Venom was initially filmed as a PG-13 film or as an R-rated movie and re-edited into a safer, more commercial PG-13 form. In its current incarnation, I don’t think an R-rating would have added much more to it, but that’s because the film doesn’t feel like it was conceived as an R-rated property. That’s a shame considering it features an alien creature that eats people’s heads. There is one scene where Venom eats a mugger’s head and the next scene he reverts back to Eddie Brock, and we see Eddie leave the shop in clear sight. The dead body of his headless victim is curiously missing even though it should be in full view. What happened? Also, what happens to the shop owner who is now witness to this traumatic event? Are the police or insurance agents going to believe her tale about an alien monster biting the head off a man whose body was left in her business? Is anyone going to want to shop there again once word spreads that a guy had his head removed? The Venom movie we get doesn’t earn this scene and it doesn’t get to wave away the scrutiny it invites.
Venom is a mediocre superhero movie that doesn’t know what it wants to be. It says it doesn’t want to be a superhero film, but it falls under the same plot trappings. It seems like it’s a silly comedy, but then it asks you to take it seriously. It seems like a serious action thriller, but then it has a goo-covered anti-hero say, without a hint of irony, that it’s “time to save the world.” Then there’s the painfully on-the-nose post-credits scene meant to bait the audience into interest in future sequels (stop doing this, Hollywood). This is a sloppy movie on all levels. The saving grace is Hardy’s dedicated, ridiculous, tic-heavy performance, which at least smoothed over the rough patches at various points for my enjoyment. Otherwise, the best part of the Venom movie is a three-minute clip for the animated Spider-Man movie Sony is scheduled to release in December. Those delightful three minutes are better than anything else Venom has to offer in its slapdash, goo-filled tonal mishmash. Check out the underrated genre gem Upgrade instead, the superior Venom.
Nate’s Grade: C-
In the opening text crawl for Star Wars Episode IV: A New Hope, it says, “During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the Death Star.” Disney, in its infinite wisdom to cash in on every potential resource of its lucrative cash cow, has decided to devote a whole movie to that one sentence in that initial crawl. I can’t wait for each sentence to get its movie. Rogue One: A Star Wars Story (in case you’d forget) is the first film outside of any of the trilogies and much is at stake. Not just for the rebels but for Disney shareholders. If a wild success, expect future tales coming from every undiscovered corner of the Star Wars universe. And if Rogue One is any indication, that’s exactly the kind of artistic freedom needed to blossom.
Jyn Erso (Felicity Jones) has plenty to rebel against. Her father (Mads Mikkelsen) was forced against his will by Orson Krennic (Ben Mendelsohn) to work on a fiendish death machine for the Empire. Jyn’s father is responsible for designing the Death Star. Jyn is broken out of imperial prison by Cassian (Diego Luna) for the Rebellion. They want her to track down her father, find out whatever she can about this new fangled Death Star, and if possible, retrieve the plans on how it might be stopped. Her mission will take her to the ends of the galaxy to reunite with her father and to provide hope to the Rebellion.
Finally after many films we finally get a war movie in a franchise called Star Wars, and it’s pretty much what I wanted: a Star Wars Dirty Dozen mission. It’s thrilling to go back to the height of the resistance against the Evil Empire and see things from a ground perspective with a skeleton crew working behind the scenes. We may know the future events of those Death Star plans but we don’t know what will befall all of these new characters. Who will make it out alive? The open-and-shut nature of this side story in the Star Wars universe brings a bit more satisfaction by telling a complete story. This film will not have to wait for two eventual sequels years down the road in order for an audience to form a comprehensive opinion. I welcome more side stories like Rogue One that expand upon the fringes of the established universe and timelines, that establish colorful new characters and tell their own stories and come to their own endings, and hopefully don’t feature any more Death Stars (more on this below). It seems like it was ages ago that major studio tentpoles just attempted to tell a single, focused story rather than set up an extended universe of other titles to nudge along their respective paths. Director Gareth Edwards (2014’s Godzilla) is less slavishly loyal to the mythos of the series than J.J. Abrams. His movie doesn’t feel like flattering imitation but its own artistic entry. The cinematography is often beautiful and the natural landscapes and sets provide so much tangible authenticity to this world. Edwards has a terrific big-screen feel for his shot compositions and achieving different moods with lighting. He knows how to make the big moments feel bigger without sacrificing the requisite popcorn thrills we desire.
Rogue One has to walk a fine line between fan service and its own needs. While it’s fun to see Darth Vader on screen again voiced by the irreplaceable James Earl Jones, it’s also a bit extraneous other than some admittedly cool fan service. We don’t need to see Vader clear out a hallway of Rebel soldiers but then again why not? It’s the same when it comes to the inclusion of cameos from the original trilogy. Some are minor and some are major, achieved through the uncanny valley of CGI reconstruction. Gene Kelly may have danced with a vacuum cleaner and Sir Lawrence Oliver and Marlon Brando both appeared as big floating heads after their deaths, but this feels like the next step beyond the grave. There’s a somewhat ghastly feel for watching a dead actor reanimated, so your sense of overall wonder may vary. The cameos are better integrated than the Ghosbusters ones.
There’s a great cinematic pleasure in putting together a team of rogues and rebels. The characters on board this mission have interesting aspects to them. Chirrut Imwe (Donnie Yen) is a blind warrior and aspiring Jedi. He feels like he stepped out of a great samurai movie. He uses his connection with the Force to make up for his lack of visual awareness, and Chirrut demonstrates these abilities in several memorably fun instances. There’s a world of back-story with Saw Gerrera (Forest Whitaker), a dotty wheezing warrior who is more machine than man at this point. Whitaker gives an unusual performance that reminded me of a kindlier version of Dennis Hopper in Blue Velvet. The reprogrammed robot K-250 (vocal and motion-capture performance by Alan Tudyk) is a reliable source of catty comic relief and I looked forward to what he was going to say next. The first 40-minutes is mostly the formation of this group, and it’s after that where the movie starts to get hazy. We know how it’s all got to end but the ensuing action in Act Two feels a bit lost. This may have to due with the reportedly extensive reshoots that were done last summer to spice up the movie (much of the earliest teaser footage isn’t in the finished film). I’d be fascinated to discover what the original story was from Chris Weitz (Cinderella) and just what rewrites Tony Gilroy (Michael Clayton) performed so late into its life. For much of the second act, the characters feel a bit too subdued for the life-or-death stakes involved, and that translates over to the audience. We travel to different locations throughout the first two acts but I can’t tell you much about them other than some intriguing mountainous architecture. The plot is a bit too undercooked and still obtuse for far too long, requiring our team to bounce around locations to acquire this person or that piece of information. Rarely do the characters get chances to open up.
It all comes together in the final act for a 30-minute assault that makes everything matter. It’s a thrilling conclusion and the movie finds a way to keep escalating the stakes, bringing in powerful reinforcements that force our Rogue One crew to alter their plans and placement, while still clearly communicating the needs of each group and the geography as a whole of the multiple points on the battlefield. It’s what you want a climactic battle to be and feel like where each player matters. It’s also a welcome addition to the Star Wars cannon, as we’ve never seen a beach assault before. It feels like a new level that was unlocked in some video game, and that’s no detriment. The ending battle has different checkpoints and mini-goals, which allows for the audience to be involved from the get-go and for the film to jump around locations while still maintaining an effective level of suspense. Many of these characters make something of a last stand, and you feel the extent of their sacrifice. I read in another review that the reason Jyn and her rogues win is because they accept that they are replaceable, and Orson Krennic fails because he made the mistake of believing himself irreplaceable. I think that’s a nice summation about the nobility of sacrifice. I won’t get into specific spoilers but I was very pleased with the ending of the film even though it’s not exactly the happiest. It feels like a fitting ending for the darker, grittier Star Wars tale and it provides earned emotional resonance for the setup of A New Hope, which this movie literally rolls right into.
With as many fun and potentially interesting characters aboard for this suicide mission, it’s somewhat surprising that they are also the film’s weak point. Beyond simple plot machinations like Character A gets Character B here, I can’t tell you much more about these rogue yet noble folks other than their superficial differences. Take for instance the Empire turncoat, pilot Bodhi Rook (Riz Ahmed) What personality does he have? What defines him? What is his arc? What about Cassian? He’s supposed to secretly assassinate Jyn’s father if given the chance, but do we see any struggle over this choice? Does it shape him? Does his outlook define his choice? Can you describe his personality at all whatsoever? What about the villain, Krennic? Can you tell me anything about him beyond his arrogance? What about Baze Malbus (Wen Jiang), who carries a big gun and is close friends with our blind wannabe Jedi. Can you tell me anything about this guy beyond that? Even our fearless leader, Jyn Eros, feels lacking in significant development. She wants to find her father, get vengeance, but then changes her mind about sacrificing for the greater cause of hope. Many of the character relationships jump ahead without the needed moments to explain the growth and change. The original trilogy was defined by engaging characters. When you have a ragtag crew of six of seven rogues, you better make sure each brings something important to the movie from a narrative perspective, and not just from a pieces-on-the-board positioning for action. Look at Marvel’s Guardians of the Galaxy for tips. If this was going to be a powerful and emotionally involving war movie, the characters needed to be felt deeper. All too often they get lost amidst the Star Wars debris and then they become debris themselves. Ironically enough, Rogue One has the reverse problems of The Force Awakens, a movie that benefited from engaging characters but sapped from an overly familiar and cautious story. It’s telling when my favorite character, by far, is a sassy comic relief robot.
Let’s talk about the Death Star in the room, namely the fact that over the course of eight Star Wars movies there have been Death Stars, or the construction thereof, in five of them (63% rate of Death Star sighting). We need a break. You can cal it a Star Killer Base whatever in Force Awakens but it’s still a Death Star in everything but name. I can’t even put a number to the amount of money it cost the Empire/First Order to build these things, plus the review process to try and correct design flaws that never seem to get corrected. At this point it feels like this model just isn’t cost-efficient for its killing needs. What about a more mobile set of multiple mini-Death Stars? I hope that the filmmakers for the new trilogy (Rian Johnson, Colin Trevorrow) refrain from putting another similar planet-killing space station-type weapon into their movies as we’ve had enough. However, the use of the Death Star in Rogue One was perfectly acceptable because it already fit into the timeline of the first film. I also greatly appreciated the clever retcon as to why the Death Star had its fatal flaw. It took a bothersome plot cheat from 1977 and found a gratifying and credible excuse. Now when Luke blows up that sucker it’ll have even more resonance.
Rogue One is a Star Wars adventure that feels like its own thing, and that’s the biggest part of its success. By being a standalone story relatively unencumbered by the canonical needs of hypothetical sequels, the movie opens up smaller stories worth exploring and characters deserving a spotlight. This is an exciting and entertaining war movie, and the kind of film I want to see more of in this multi-cultural universe. It’s not a faultless production as the lackluster character development definitely hampers some audience investment. I wish more could have been done with them before they started being permanently taken off the board. While Rogue One is looking to the past of Star Wars it still makes its own independence known. I hope this is the start of a continuation into exploring more of that galaxy far far away without the required additions of every Skywalker and Solo in existence. It’s a far bigger universe and it needs its close-up.
Nate’s Grade: B
After the indifferent reception of its 2012 spin-off, original super spy Jason Bourne (Matt Damon) and director Paul Greengrass (Captain Phillips) are back and it feels like everyone is falling into familiar paces. The titular fourth film in the franchise (excluding Bourne Legacy) is easily the weakest (excluding Bourne Legacy) and the seams of the formula are starting to show. Once again an ally has intel to expose some sort of secret and illegal government conspiracy that ties into a revelation about Bourne’s past, and once again this ally is killed as the Act One break to spurn Bourne onward, and once again there’s a secondary assassin working for the morally murky government agency head, and once again there’s a signature car chase sequence, and once again there’s a final choice Bourne needs to make about what kind of person he wants to be given his new perspective on his old killin’ ways. The frantic Greengrass staple camerawork and editing can make just about anything bristle with some energy and suspense, but rarely was I fully feeling what was happening onscreen (except for the caveat of admiring how attractive Alicia Vikander’s face looks on the big screen). Short of the final car chase through Vegas with a SWAT truck barreling through traffic, the action sequences are pretty routine and unmemorable. The foot chases and fisticuffs, a hallmark of the franchise, feel slightly blasé in their development. The action isn’t bad but it feels more than a bit staid. The stakes aren’t as high and maybe that’s because it feels like there is little more to reveal about our hero’s hidden past. Is the next movie going to divulge the long lost secret that he never paid a parking ticket? Tommy Lee Jones makes an enjoyably crusty adversary. Vikander has just enough of an angle to provide more substance as a character than the typical agency analyst reciting exposition. The film ends with some promise of looking forward rather than back, and I hope that further adventures with Jason Bourne (excluding Bourne Legacy) stray a little more from the well-worn formula and provide better reasons for this spy to come out of his hiding.
Nate’s Grade: B-
The surprise of Nightcrawler is that it works well on different levels: as a psychological descent with a deranged lead, as a media critique on sensationalism, and as a genre thriller. Jake Gyllenhaal (Prisoners) gives a truly transfixing performance as Leo Bloom, an ambitious sociopath who will stop at nothing to become the best at what he does. It so happens he films accident and crime footage to sell to the local news stations, and he’s not beyond getting his hands dirty if it means a better camera angle or a better payday. The actor reportedly lost 30 pounds and he appears otherworldly, his lanky frame and gaunt face making his bulging eyes pop. There’s a hypnotic intensity to his performance and a darkly comic irony that he speaks almost entirely in business buzzwords and jargon. The film chronicles his rise to power and how he uses his leverage to manipulate the people around him. The media satire is a little heavy-handed but still makes its points, especially in an age of scandal and hysteria. Rene Russo is also great as the desperate and bloodthirsty news producer who is charmed by Bloom but then gets too far in. Writer/director Dan Gilroy (brother of Tony) has crafted a haunting central figure that is morally repulsive yet entirely engaging, especially with a career-best performance from Gyllenhaal. He’s a fascinating psychological case, even if he remains relatively the same character from the start. He makes every moment an opportunity in suspense. Gilroy has a natural sense for visuals and especially how to pace his tension, drawing it out with precision in the final act as Bloom’s arrangements cause disaster. The nighttime Los Angeles setting and swirling tension remind me of Michael Mann’s Collateral. This is a movie that sticks with you long after thanks especially to the power of Gyllenhaal.
Nate’s Grade: B+