#venom Somewhere between the drawing board and the actuality of the screen a great film was lost. What is left is a good film that has enough pieces on the cutting room floor, the home release should be interesting…Venom could surprise at the box office. It’s better than the standard is for hero films these days, even if it’s not all that great. It makes its viewer want more.
The best thing Nolan does with Dunkirk is to never lose focus. He is the mariner, Mr. Dawson, and we play the part of Peter. He knows the plane just by the sound, but he still lets us see it so we can remember too. Feeling like it might be hopeless, one might be tempted to speechify and let us know the significance of it all. He just moves towards the battle, but picks up one life at a time.
It would be one thing if the story played a little closer to Hang ‘Em High and a bit less artificially constructed as A Beautiful Mind. The Academy never gave any awards to the first movie, though. The original Glass just wanted his gun back from Fitzgerald. DiCaprio’s Glass has to have a victim-class son to avenge. If that’s not enough, he gets caught evaluating the meaning of revenge at a crucial moment. This is not exciting. This is theatre in the woods.
Of the films, this is the one I enjoyed more than any, outside of Thunderdome. For a series that is such complete and all out high octane, they keep going down the same road over and over. Unlike George Romero’s zombie films, or Scorsese’s real crime repeats, the craft is getting more refined with each trip. And unlike Spielberg tinkering with E.T. or Lucas messing around with the original Star Wars movies, these films feel more organic, instead of messed with. It’s like a painting that grows in one’s esteem as it ages. Don’t be fooled, though. This painting is closer to Dogs Playing Poker than it is to The Last Supper.
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