Mike Meyers is back to haunt Laurie Strode In this sequel, which is well enough directed by Andy Serkis, Eddie Brock (Hardy) and Venom (also Hardy) bicker their way around a cramped apartment like an old married couple, and end up huffily parting ways just as another alien succubus takes control of a psychotic felon and starts causing all sorts of trouble.Ī silly plot is enlivened by moments of visual flair, Woody Harrelson brings customary southern gusto to his portrayal of the villain, and Michelle Williams returns as Eddie’s understandably lukewarm girlfriend, Anne.īut Hardy is the star here, and hones what wit a bumpy screenplay offers him in a thoroughly entertaining performance. Noisy, in fact, to the point of being deafening, particularly during a hysterical and thoroughly predictable CGI climax.īut Venom: Let There Be Carnage has a secret weapon, namely Tom Hardy - an actor good enough to convincingly play a man possessed by a ranting alien carnivore. Sony’s Spider-Man spin-off Venom won little love from the critics but turned a tidy profit back in 2018, and so we have this noisy sequel. Venom: Let There Be Carnage (15A, 97mins) And Jodie Comer, exemplary as a cornered but determined woman, stands out in a fine ensemble cast. The duel itself is a minor masterpiece of crawling dread, as Jean and Jacques career around a muddy pit, geed on by a baying mob. The alleged rape, for instance, is seen not as a crime against the woman, but against her husband, whose legal property she is.Īll of this is very nicely handled by Ridley Scott and the Damon/Affleck screenplay: the different accounts are strewn with telling deviations in detail, and Marguerite’s version provides an eloquent rebuttal to all that has gone before. “Come in,” the Count tells him at one point, “take your pants off”.īut while the notion of sexual consent would have been a grey area to begin with in medieval France, d’Alençon seems particularly confused on the subject - as far as he’s concerned, anyone he chases is lucky to be pursued.įinally, we get Marguerite’s version of events, a sobering counterpoint to all that has gone before, and a grim lesson in how little the opinions and needs of women mattered at that time. In Jacques’ version, we discover that the squire, unlike Jean, is literate, fluent in several languages and quite the all-around charmer.Īs their interests neatly elide, he is very much in d’Alençon’s favour. That incident, and the events leading up to it, are told from three perspectives, beginning with that of Jean, who imagines himself a gruff but fair man, a wronged but loyal servant of the king. Marguerite alleges that while she was alone in their castle, Jacques had forcibly entered, chased her upstairs and raped her. Jean and Jacques have fought together, and are friends, but while Jean is away from home, an incident occurs which will scandalise the kingdom, force a court case and provoke the last judicial duel to be sanctioned in France. Jean has leverage and the couple weds, but no children initially ensue, and meanwhile, there are wars to be fought, neighbours to be sued. Surly and battle-scarred, Jean is no catch, but his task is made easier by the fact that Marguerite’s father has fallen drastically out of favour with the king.
OVERLORD ANIME SUCCUBUS MOVIE
When I say he’s the funniest thing about this film, I’m not being snide: he brings real satirical edge to a movie that might otherwise have gotten bogged down in a sense of its own importance.Īnd Affleck is not the only one afflicted with an unfortunate hairstyle: poor Matt Damon is forced to spend the entire production skulking beneath a mullet 80s Bono would have been proud of.
It was written by Damon and his old Boston buddy Ben Affleck, who appears sporting a disconcerting peroxide hairdo, playing a debauched Norman noble. He was here shooting outdoor scenes for the film when the first Covid shutdown struck: marooned with his family in a Dalkey mansion, he made like a local and won a desperate nation’s hearts.īut that was then, this is now, and a string of grumpy reviews from the Venice Film Festival have suggested that the medieval epic is an overworked blancmange, a gory costume drama that soon descends to silliness.Īll wide of the mark as it turns out, as are facile attempts to pick apart the screenplay’s feminist bona fides. One feels like awarding an extra star to Ridley Scott’s The Last Duel simply for having given us the lockdown gift of Matt Damon.
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