DEADPPOL VENOM CROSSOVER BOOK 2016 MOVIE
DEADPPOL VENOM CROSSOVER BOOK 2016 PS4

DEADPPOL VENOM CROSSOVER BOOK 2016 MOVIE

Venom’s marketing insists that its namesake is a bad guy-“The world has enough superheroes,” reads the poster-but the movie ensures that the only people who get devoured or disemboweled (usually in the space of a careful cutaway) are bad guys, and the plot boringly pits Eddie/Venom against a more obviously evil symbiote instead of mining the dramatic possibilities of a story about the enemy within. He’s also too sentimental about a character who should be ruthless. the Deadpool of zombie movies, which got its biggest laugh from a Bill Murray cameo.įleischer can do pop culture cuteness, but he can’t do the kind of weird that Venom needed to make it memorable.

Venom’s director, Ruben Fleischer, isn’t a visionary, though. In a better movie, Eddie Brock’s frequent morphing would shift the tone of Venom around it into the kind of genuinely subversive or satirical register that would feel like the film’s id was being unleashed. (The Deadpool movies also have Venom beat in the title-track sweepstakes, with Celine Dion’s awesomely post-ironic, quasi-Bond theme Deadpool 2 torch song “Ashes” owning Eminem by a mile.) And in the process, it exposed the monotonous competence of the MCU proper, which is too carefully quality controlled to permit any kind of extremity. The obnoxiousness of the Deadpool movies aside-or front and center, where the filmmakers like to put it-it’s a franchise that has staked out its target demographic (essentially, grown folks who play Cards Against Humanity) with purpose. However it was achieved, the PG-13 rating indicates the distance between Venom and the similarly Avengers-adjacent Deadpool films, which pivot on a similar gimmick-the (anti)superhero who talks to himself in sotto voce asides-but push in a more fully realized hard–R-rated direction. (Besides, there are other ways that Venom can be offensive.)

The choice to go with a PG-13 rating for a movie about a character whose WWE-style finishing move in his comic book incarnation is eating peoples’ heads (a notch below MacGruber’s signature throat-ripping, but still pretty hardcore) is a sound business decision: It keeps the door open for a proper Venom-versus-Spider-Man crossover, which Sam Raimi botched the first time around. This is a paradox: Venom isn’t good-nor so-bad-it’s-good-and yet if there had been more of it, and if that more had been a little wilder or gorier, it probably would have been better. “Is there an R-rated cut sitting there? There isn’t.” “There isn’t some phantom version,” he insisted. Hardy’s claim was repudiated (sort of) by the film’s co-producer Matt Tolmach, who indicated that the movie is what it was supposed to be. In an interview with Comics Explained, Tom Hardy suggested that his “favorite” scenes-“30 to 40 minutes’ worth,” in his words-were all cut out, which is not what you want to hear from your star on a press junket. To be honest, the main reason I stuck it out was because Venom’s bonus-scenes-not-included running time of approximately 96 minutes is streamlined compared to all those bloated superhero movies, although there are rumors floating around that the movie was supposed to be longer. The sight of Woody Harrelson in a Ronald McDonald hairdo as Cletus “Carnage” Kasady is less promising.

DEADPPOL VENOM CROSSOVER BOOK 2016 PS4

The preview clip from the upcoming CGI-animated Into the Spider-Verse, set in an alternate timeline where Tobey Maguire, Andrew Garfield, and Tom Holland never got the webslinger gig, is kinetic, funny, and promising-the springy Spidey of your PS4 dreams. I listened to “Venom” while standing in the aisle watching the end credits of Venom, which I only did because we were informed before the screening that there would be not one but two extremely crucial “stingers” afterward. Still, it would be pretty funny to see “Venom” go up against “Shallow” in the Best Original Song category at the Oscars to extend the bizarrely intriguing Venom–versus– A Star Is Born rivalry, which has already featured Twitter sabotage, mutual box office domination, and the fact the two movies share a cinematographer. Verdict: As soundtrack bangers go, “Venom” isn’t going to make anybody forget “Lose Yourself” (or “Wild West West,” still the GOAT, notwithstanding Demi Adejuyigbe’s fake Fresh Prince–style rap for Get Out).

Deadppol venom crossover book 2016