Black Widow Got Her Movie


Disney’s Marvel’s Black Widow is the movie you probably think it is before you even enter the theatre. That’s both good and bad. It’s eminently watchable and perfectly enjoyable. But for a marquee character of the MCU to finally get their own solo project, it just doesn’t really live up to the level set by the other main event stars in the franchise.

It’s another capital ‘m’ Marvel movie that goes in the “it’s fine” pile with like Ant-Man, Dr Strangeand Captain Marvel. You know a completely a-ok 3/5 but not something I’ll be thinking “I should watch that again.” I don’t want to say it doesn’t live up to the expectations, because I’m not sure anyone really expected this to hit the level of something like Guardians of the Galaxy or Captain America: The Winter Soldier.

But I really wanted this to be another The Winter Soldier. I was very very ready to see a fun espionage movie in the vein of Jason Bourne or Mission Impossible. I really thought it could be considering the character and what kind of story works best for her and her skillset. So maybe this falls on me tricking myself into thinking the apple pie was blueberry.

Something I found really interesting is that for a movie that takes place between Civil War and Infinity War, the film is super self-contained. There are no surprise cameos. There’s no awkwardly woven in appearances to remind you of the scope of all these movies. It can be watched as a standalone film and the viewer wouldn’t miss out on anything critical to the experience.


The tone early on is quite serious and the film is taking itself and the subject matter seriously. Black Widow is on the run and trying to avoid being thrown in international prison. She’s living an unglamorous life and hoping to fade into a new identity.

It feels like a spy movie.

Unfortunately, it starts to become weightless as the plot progresses. And not just because it gets too big in scale – because it moves away from spy stuff to CGI and quips.

Prequel films tend to lack the same weight of something in the proper flow of the timeline because you know who the character is before the movie, and then also who they are after so there’s only so much room in the middle to work with. But hey, someone had to go for the soul stone and that leaves you only so much space to work with for the story.

The plot is 1 + 2 = 3 and mostly straight forward. There wasn’t as much espionage as you would think from a super spy character in their own film. There’s like one fake out twist. Bad military guy wants macguffin. Our Hero needs to stop/protect/save macguffin. Blow up a giant spaceship along the way.

Even if you don’t want to repeat The Winter Soldier too much, go steal the Mission Impossible writing team and stick Black Widow in one of those films. Tense scenes where characters might take a beating that lasts the rest of the film, a lot of tense down to the second timing for espionage and spy-craft and some “oh jeez how will they get out of this”.

One thing I noticed, and this is me being cynical, is that there are a lot of pre-viz fight scenes that movie transitions into which were clearly drawn up mostly-ish before the script was done. So the action isn’t always in service of the plot, but sometimes the plot is in service of the spectacle and action scenes. That isn’t a crime but it can make the feel “too big” when a smaller, dirtier, tighter fight or scene could have had just as much or more impact.


One of the strengths of the movie is when it slows down to let the actors act and give them the time and space to be actors. The opening of the film is quite good that way. The moments in between action scenes where the family is forced into their family dynamic is quite good. And you have talented actors that can act in this movie. Watch Marriage Story or Stranger Things or any of those British/indie things Florence Pugh has done. Great actors just acting it out. I remember the details of those scenes a lot more than I remember explosion #13 that the characters survive with a little bit of dirt on their cheek.

I don’t know what there is to say about the titular Black Widow. It’s Scarjo. She does well with what’s she is given and can completely handle the weight of being a leading lady in a movie.

David Harbour is great in his limited role. He plays a really believable dad and has great chemistry with everyone around him. He doesn’t quite get as adorable as in Stranger Things but oh well. Rachel Weisz as the slightly colder character of the mom is good too – though I think she gets off the hook a bit lightly for some of the stuff she’s pulled.

The villain is a silly caricature of villainy. I think that’s another reason why the movie feels more fantastical than real as the plot progresses. He’s a Harvey Weinstein inspired bad military man that just has it out to hate women and take advantage of women because he can and that’s why he trained them to be assassins for a comedic reason versus anything practical.


That’s kind of a plot thing that loses a bit of impact and is something kind of infects a lot of female led projects. The need to make a statement that Women Are Capable People Too. Yeah, I know. Smart people know this. Your average audience member knows this. Morons don’t but they’re morons. The Wonder Woman movie did this excellently just a few years ago. Know what movie didn’t because it got comical with it? Ghosbusters 2016.

We’ve had badass females heroines before: Alien released in 1979, The Terminator released in 1984, Buffy was one of the biggest shows in the 90s, Disney has an entire army of strong female animated characters, Hermione saves the day countless times in Harry Potter, Eowyn killed the motherf*cking Witch King, Jennifer Lawrence launched an entire genre of movies with The Hunger Games, Charlize Theron and Uma Thurman and Angelina Jolie have been kicking ass in movies for 20 years. Video games are full of female leads that whip ass. This all came to mind as I was writing.

I’m not saying you don’t celebrate the fact this character has got her moment and her chance now, but when your villain basically says “women are worthless trash” and then it gets tough to take the movie seriously. Especially when that attitude has led to countless and continuing human rights violations that the main characters don’t really seem all that bothered by because it’s time to blow up that spaceship for the next action scene.

I get a story for a female character is different than a male character and its reductionist to say “just write James Bond but now it’s Jane Bond”. But there’s not much in Mission Impossible or The Winter Soldier or the Bourne franchise that you can’t have Black Widow do here. But you have to maintain a tone and atmosphere for that to happen and this movie didn’t.

Part of a serious tone is that a character takes their lumps and has to fight through those lumps and improvise. That’s something that separates John Wick from The Fast and The Furious movies. Your character can’t just find the cheat code to turn off damage – and if they do then you have to explain it. Logan did that excellently and you just need something similar.

It results in the movie feeling less visceral or gritty, or whatever word you want to use, in exchange for it feeling more fantastical. When Captain America is getting the snot beat out of him by evil Bucky and takes a bullet and an explosion or two, he struggles to get that last disc in the space ship thing. This Black Widow is getting hit by explosions and punches and debris and still just is able to keep on running into a new explosion that doesn’t ruin her makeup or hair. It’s all part of the stakes in a movie.

It’s hard to buy into the stakes of “the characters have to get away from the bomb or avalanche or exploding space ship really quickly or else!” Or else what? There are half a dozen things that should have very obviously killed our Black Widow as she’s been established in nine other movies and a few that should have killed the supporting characters. But nope, and they don’t even put on some lazy bandages like a wrestler. They all recover from fights like Vin Diesel.


Like that beating Cap gets at the end of TWS would have left this Black Widow with nothing more than a broken nose that she could just easily pop back into place with no swelling so the visual effects artist or make-up team doesn’t have to do a lot of scenes giving her a jank nose.

Oh, and the heavy the villain employs, Taskmaster, is pretty badass but then you realize this super assassin that is a big threat you need to be scared of only manages like one kill the whole film and infinite near misses, to add to the other misses of the movie. I’ve been a bit harsh on the movie but I think it’s just because I wanted so much more. I get frustrated with movies that waste potential more than anything and this movie is a victim of that. Instead of Mission Impossible it went for Big Quippy Action Marvel Movie. I hope some people love it. I don’t want to poopoo anything too hard, but after taking so much time off from “the Marvel formula” over the pandemic, coming back to it does feel… less exciting. Maybe mentally I ended at Endgame a bit. I wouldn’t blame anyone who did, especially when the first film to try and hook you was this one. Maybe the #MarvelFormula has hit critical mass.

@Adam_Pyde on Twitter, Adam Reviews Things on Facebook. CanadianAdam on Twitch.

Godzilla: King of the Monsters is Radical

Godzilla: King of the Monsters is the movie is everything your brain would make you think it would be. When you picture that title, you get a certain movie in your head. That is exactly the movie that gets delivered. Godzilla. Monsters. And a Wrestlemania match to determine who is king. Oh and, like wrestling, some worthless human drama you want to skip over.

That isn’t to say that the movie is completely mindless. It isn’t Transformers. There is substance to this movie. There is movie to the movie. Maybe not as much as some audience goers would want, but it isn’t devoid of craft beyond well done CGI. The movie isn’t insulting you for watching it.

Now, maybe there is a Godzilla film someday that’s sort of Cloverfield-esque and focuses on the disaster movie side of how you could tell this where it’s all about a really interesting drama on the ground following an ensemble cast of not-invincible characters. But when you put Godzilla in the title, you gotta deliver on Godzilla. This movie does exactly that.

It’s Godzilla. It’s monsters. It’s well done destruction porn without feeling like Man of Steel. It’s a big, dumb, fun, good, well made, cheesy movie. Plus, have you ever subscribed to the theory of “F*ck Boston”?

It isn’t just a retread of a 1v1 monster fight as if it were a procedural show. “This week on Godzilla, he fights Ghidorah!” They really spider-webbed out to make this “universe” bigger without going all The Amazing Spider-Man 2.

If you’re a long time Godzilla fan, you’re gonna get your easter eggs and mythology. If you’re new-ish, you’re gonna get your mythology and a few nods you might remember. If you’re new-new, then I think it does a decent job of introducing you to the world and catching you up. If you’re a fan of the Fallout games, well this may be your new head-canon.

'Godzilla: King of the Monsters'

Since 2014 they’ve realized that there are more than just three or four of these giant monsters. Secret government organizations are researching them and trying to harvest/control them. There are fanatics who see Godzilla as basically Jesus. You have your “lets just blow them up!” politicians and military people. You have your scientists that are so horny for the science that they get blinded by the science so they don’t really see reality. That’s neat because it’s accurate. The human-world side of this is intriguing because we’re no longer the alpha species and watching people react to this is endless potential.

But the human-people story side is always so lame because they have to Main Protagonist Power a select few individuals where convenient plot armour protects them from the dangers of the world that everyone else is vulnerable to. I guess I get it. They’re actors, you’re paying for some name value, they want to deliver a performance, etc. It can just feel silly at times. It doesn’t help that the human-people story side of it kinda flatlines and stops evolving after like 40% of the way into the movie.

The Dad gets kind of annoying. The Mom sucks. Millie Bobby Brown is pretty good. Charles Dance didn’t get enough screen time to really round things out and fill up his character to max potential. The rest of the humans were adequate.

Ken Watanabe steals every scene. He really gets to act his ass off and its a pleasure. He’s the best human in the entire movie and really gets to shine. Full praise. I’d have rather he was the main character in the film instead of a supporting character. Less can be more though.

Image result for godzilla king of the monsters ken watanabe

They get into it pretty early with the monsters/Titans and emphasize how little of a chance the humans have. Its almost a running gag that every time the humans are like “blah blah containment fields/our anti monster guns/super bombs” that the monsters brush it off as if it was a mildly coordinated house fly attack.

The McGuffin is pretty dumb. The rest of this paragraph is mild is spoilers for the first 14 minutes of the movie. How do you mimic something you’ve never been able to encounter ever just by spinning a dial? That’s like being able to speak a language just because you brained really hard. Yes, coexistence good. But the idea that all these monsters somehow all speak the exact same language and you just need to spin the computer dials like it’s a hack mini-game from Arkham Asylum is full on dumb. The existence of the Brown Note is more realistic.

There’s some Venom level dumbass-ness that happens. Like comically dumb plot just to make that plot get plotting. And that’s where I started to really tire of the characters we’ve been hanging out with. Luckily, outside of two extended lulls, they keep the monsters doing monster stuff.

The money in this movie really does go to the look and sound of the Titans. From the monster growls to the way they sound when they move to the sound of their breathing, it’s amazing. And then the music is even better. It’s a great score that never overpowers you but totally hangs out as a really good sidekick to add to the scenes.

The cinematography is good and has a few of those key frames that make you go “Wow!”, but I’m not really sure if this movie is shot any better than the previous one. There were a few times where the camera felt like it was doing too much and moving too freely and when that happens it can make the action and the monsters feel smaller than they are. It’s only a couple times, but I noticed it.

Every monster looks distinct and they each get their own colour which really aids the aesthetic. Most of the movie is so dark that it could have been a bit of a mess trying to track Godzilla vs Ghidorah and Rodan, etc. But because Godzilla gets blue, Ghidorah gets yellow, Rodan gets red, etc. it makes it easy to follow. They’re all lit excellently. It isn’t quite Pacific Rim with it’s colour palette and lighting, but it makes sure you know what is happening which is always appreciated in action movies of this scale.

They give the monsters their own characters. And while it largely isn’t much above Titans fighting to be the alpha, you get a sense of personality from them. Without giving too much hinted at+stated plot away, Ghidorah’s more about anarchy+destruction while Godzilla is about order and a semblance of coexistence (but he still makes sure the humans know who the king is). Mothra gets a bit of character and so does Rodan. It isn’t much, but it’s another step to making them more than just fighting monsters.

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Much like the first Godzilla movie, this one is an In Theatre experience. You need to see it on a big screen with a booming sound system to really help add that weight and effect to the scale of these monsters. When your seat shakes as the monsters rumble, it helps the movie feel that much more visceral. When one of them roars loud enough to shake a building, you want that vibration. A D-Box showing would be an excellent way to get every penny out of your movie ticket.

If you wait until Netflix for a movie like this, you’re not going to get that chair shaking audio every time Godzilla steps forward. And with how much of the movie takes place at night time and in storms, you’re dealing in a lot of grey, navy and black tones which always suffer in the digital compression of movies on streaming services.

There isn’t much more you could want from a Godzilla movie. Unless maybe he fights King Kong next.

@Adam_Pyde on Twitter, Adam Reviews Things on Facebook. CanadianAdam on Twitch.

Venom: Sucks So Good

Venom has some serious suckage. It isn’t good, but its good enough. Put this movie on a pie chart and a good chunk is like Suicide Squad and The Amazing Spider-Man 2 had a baby. But being a bad movie doesn’t mean it is terrible because it is quite a bit fun. Seriously, two thumbs up.

I was already kind of negative before this movie came out. It looked like a bit silly, and Venom without Spider-Man isn’t exactly interesting. Eddie Brock is Venom because of Spider-Man. The trailers made it look visually messy or bland.

But then I heard some good, or at least not horrendous, things from people and the box office returns were positive. So, why not see it? What else am I doing at 5 PM on a Friday when I have to be up at 7 AM the next morning? I haven’t been to a movie since either Rampage or Ant-Man and The Wasp. Whichever came first. If nothing else, I heard the post-credits scene is worth a $14 ticket.

Everything that isn’t Eddie Brock and Venom is a train wreck. But the train wreck never stops. You know how in another Tom Hardy movie, Mad Max: Fury Road, the chase builds and builds and gets one percent bigger then two percent bigger and then three percent bigger? This is if a train wreck crashing into more train wrecks found a way to not stop and still arrive at its destination in a pile of twisted metal and fire like a Looney Toons skit. When other characters are on-screen you’re sitting there like “WHERE IS VENOM AND EDDIE?”

The dynamic is where the fun is. Think of a buddy cop movie. Venom is beyond the bad cop, he’s an asshole. He’s just absurd. Eddie Brock is mumbling, bumbling doofus.


No calm down.


Come on relax.


Oh Jeez.

The last person you should ever listen to about their own movies is Tom Hardy. Mad Max: Fury Road is fantastic and while this movie isn’t good, his stuff in the movie is the best part of it all. Their interactions are fantastic. His complaints that all his good stuff was cut from the film seems silly, since his stuff was the only good and best part of the whole movie. If there was 40 minutes of missing footage of those two then I am totally down for an extended cut. Give it to me. The two of them have some absolute money lines together.

I’m not lying or being a sensationalist fanboy when I say that you can have a good time at this movie for that alone.

Now, if you’re looking for a nice cohesive well told story with multi-dimensional characters? Nah (Although that is kind of the movie’s charm).

The first 30-ish minutes of this movie is nearly walk-out bad but then at minute 31-ish it finally does something. The beginning of the movie is the kind of stuff you’re going to skip past on any re-watches.

Worst super hero movie villains list: Steppenwolf, the Dark Elf guy from Thor 2, Abomination, Bulls-Eye, Apocalypse, Doomsday, Venom era Spider-Man 3, Electro, fart cloud Galactus and then fart cloud Parallax. There are a ton of terrible villains in these movies.

You’d agree those are all terrible? Lets go about 12 rungs down the ladder. Acting. Motivation. Music. Presentation. Design. Character. The absolute worst.

The Life Foundation and Evil Business Guy Carlton Drake and Riot are some of the worst villains. They’re from a pre-Avengers world where the motivation is “They’re just evil. Who cares. Its comic books. Shut up. Bad guy does bad stuff.”

Carlton Drake is making out and having gross PDA with Being Evil. And the speed at which his Evil accelerates is numbing. Just laugh. They literally combined every Evil Businessman trope into one character and then turned up the suckage. Doesn’t get any better any further into the movie, just gets worse. There were points in his Evil Plan where I couldn’t help it but laugh during a Super Serious Scene.

Poor poor love story and love interest. She gets the bare minimum of any form of character you could give someone.

Shaky and suspect dialogue in a lot of scenes. “Have a nice life!”

A great chase scene and a couple of neato fight moves, but the more CGI that is on-screen the bigger a visual mess you’re suffering through. I can’t imagine the migraine I would get in 3D. A nighttime fight between a black CGI goop monster against a charcoal grey CGI goop monster splooping punches of gloopy impact is just… what were they thinking? There are moments in the big action climax where I literally couldn’t figure out what is happening or who is who.

The PG-13 saps some of the life and impact from scenes. There are things that should be more visceral than they are. It doesn’t need to go full vile gore-sploitation mess, but Venom can be a really visceral character. There are elements of body horror and gore to his story and actions. Some of the actions and motivations feel a bit limp as the numbing of anything too extreme is a bit lame. Imagine if you never got more than sideboob in a movie about strippers? Either be PG-13 or be R but trying to be in the middle results in a tonal mess.

In a world where Logan and Deadpool and Dredd exist, you can have a successful R rated Venom.

I still liked it quite a bit. I wouldn’t really say it felt tonally different or really all that distinct. It fits in with the pile. There’s a good, charming performance and a few neat ideas here that are holding that train wreck together as it rolls into the station. I almost don’t think this movie “works” without it being terrible where it is terrible.

As for a sequel, the movie is there and the stinger makes you want to try again and show up again. Take another swing and get someone who has a clue to put it together. Or maybe keep it a bad mess. I don’t know. It was fun and sometimes that’s all a movie has to be.

@Adam_Pyde on Twitter, Adam Reviews Things on Facebook. CanadianAdam on Twitch.

The Room: When an Alien in Human Skin Makes a Movie

Image result for the room

The Room is the greatest mess in cinematic history. It is the Citizen Kane of bad movies. It is the answer to the question of what would happen if something went so far below a zero that it somehow became a 10.

Its awful. It makes no sense. Characters existing is the extent of their existence. It has character moments, arcs and plot that are dropped in the same scene they’re introduced. It is edited at random. In the language of cinema, nothing in The Room works.

This movie is unwatchably watchable. If you were to sit down and try to watch take this seriously, it would feel like you’re “being stabbed in the head.” But sitting down to watch this as a delusional vanity project gone awry and it becomes one of the best 90 minutes you’ll get out of a film.

Tommy Wiseau is the center of the film on screen, as really good guy Johnny, and off screen as well. This man directed, wrote, adapted, produced, starred in and funded the entire $6,000,000 film. Yes, this movie costs $6,000,000.

This entire film is a series of things just happening. Its almost more of a mockumentary around a guy and his life than it is a proper dramatic film.

This is the cinematic equivalent of giving any random person a budget and a script and a camera and a crew. It should make you appreciate how “good” even a regular bad movie is.

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Tommy cannot enunciate. Tommy cannot dress himself. He’s an alien in human skin.

The Room is what the result would be if an alien species studied late 90’s soap opera TV, had a computer program amalgamate a script and then was performed by the aliens in human skin like the first Men In Black movie.

It’s not difficult to find secondhand embarrassment for the actress portraying Johnny’s “future wife” Lisa. She’s given an awkward wardrobe, absurd “motivation” and has 4 or 5 sex scenes. The sex scenes are uncomfortable. They last the entire length of the bad and cheesy love songs. Johnny pounds away at her belly button, has a zombie orgasm and then shows the entire world his butt. Why? Because its “Hollywood”, I guess.

Time passes in the film without any establishment of time passing. Characters talk about meeting up tomorrow and are in the next scene. No establishing shots, no passage of time shot, no CHANGE OF OUTFITS! They just happen.

Set design is bizarre. Like a showroom apartment from a 2003 Ikea. There are candles and photographs of spoons everywhere.

The logic of the film is bizarre. The game of football is just awkwardly hot potato-ing a ball around. Marijuana is considered an aggressive “fly off the handle” drug. Attempted murder is quickly forgiven. Stumbling into a garbage can sends you to the hospital.

The dialogue of the movie is completely bizarre, which probably is why the characters are so completely bizarre with actions that are completely bizarre.

  • Claudette becomes the voice of the people at one point, literally saying “What are these characters doing here?”
  • Tommy Johnny responds to the story of a woman being hospitalized by the beating of a jealous ex-lover with “Ha ha ha what a story, Mark!”
  • Characters will bring up something in conversation and then say “I don’t want to talk about it” after them bringing it up.
  • Adultery is committed and forgiven immediately, but then unforgiven about 12 seconds later in the same scene.

Does any of this sound like it was written by a human?

  • “I did not hit her. I did not. Oh hi Mark.”
  • “Anyway how’s your sex life?”
  • “Anything for my princess ha ha ha!”
  • “Its not over everybody betray me I fed up with this world!”
  • “If a lot of people love each other the world would be a better place to live.”
  • “Cheep Cheep Cheep Cheep Cheep.”

The best performance in this entire movie comes from the least trained actor on set. Drug dealer Chris R, played by former Olympic bobsledder Dan Janjigian, is excellent. He’s legitimately intimidating and terrifying. There is more conviction in his lines than the rest of the entire film. But even a performance that good is still undermined by The Room as people just appear in the scene like its Looney Tunes while shouting awkward lines. Somehow the violent, giant, gun weilding Chris R is subdued awkwardly by Johnny and his best friend Mark while Lisa yell cries about drugs at a whimpering Denny, Johnny’s pseudo son.

There’s a sad truth in film though. While its a mess, its clearly written from some place of truth or experience in Tommy Wiseau’s heart. There’s something of a biopic going on here, where nice guy Johnny gets manipulated, lied to and taken advantage of by the people close to him. A lot of the dialogue sounds like something from a bitter ex-lover.

Almost the entire male cast is portrayed as sexual vultures. Lisa is a petulant whore. Mark wants to, and does, bang Lisa. Denny wants to bang Lisa. Peter talks about how great Lisa is. Some no-name at the party has one line in the movie and it is “Lisa is so hot” while making a horny face.

Writing this may have been cathartic and even necessary for Tommy, but then turning this play into a film became an ego stroke. Some characters exist only to show that Tommy Johnny is a great guy.

Note: Due to Johnny clearly being a proxy for Tommy, I left in all the places I wrote Tommy.

One of these characters is Mike (pictured) aka Me Underpants Guy, who needs a private place to fool around with his girlfriend. So of course great guy Johnny allows them to use his couch whenever they want.

One of the nonsense characters is Denny, the orphan who was too old to adopt so Tommy Johnny just pays for his entire life as a pseudo father. All he does is be sexually creepy and weird, but Johnny loves him anyway because Johnny is so great.

One of these characters is Claudette, the future mother in law, who essentially repeats how Johnny is rich, nice, caring and an amazing man that all women would love to have.

One of these characters is the Flower Shop Owner, who exists to tell Tommy Johnny how he’s a great customer and great boyfriend.

Most of the characters essentially exist to say “Johnny, you are so great. You’re the best person” in a variety of ways.

Even Mark, the antagonist of the film and Johnny’s “best friend” who is banging Johnny’s “future wife” which frays and destroys the relationships in the plot of movie, will regularly talk about how great of a dude Johnny, his best friend, is. He will say this two seconds after putting his shirt on after having awkward staircase coitus with Lisa.

In years since, Tommy Wiseau has said he was making a dark comedy or a satire of a drama. Absolute crap. He went for a serious American drama and failed so miserably he made a comedy of errors so great he crafted one of the greatest comedy films of all time. The film grossed $1800 in its theatrical release. Marketing of the movie was a billboard in LA, that stayed up for 5 years, and Tommy Wiseau throwing pamphlets at people prior to the films premiere.

Image result for the room billboard

The film is a complete mess. It takes itself seriously. It wants to hit heavy but is undermined in wild swings of tone. Random thrown in scenes interrupt any pacing you may find. Its a movie that doesn’t know what a movie is. Writing, dialogue, acting, screenplay, editing is atrocious.

The movie climaxes in a suicide after Tommy humps Lisa’s clothing following a lackadaisical condo trashing after Tommy shove fights Mark and tells Lisa she’s a bitch. That literally all happens inside 10 minutes.

It was written as a stage play and could not get distribution as a book. Logically when you encounter those obstacles you turn it into a self financed film. The production crew was replaced twice during filming.

So how did this movie become a big deal? Well, The Room was played on loop for April Fools 2009 by Adult Swim. That was the movie’s big break. Beyond that it had a small cult following in LA among film industry people.

How did I find this movie? I wanted to watch Room, the Brie Larson film that won an Academy Award. I didn’t think twice when I saw a theatrical showing of The Room, so I mosied on down to the historic Garneau Theatre. Imagine my surprise when I got this film, complete with fans throwing plastic spoons and singing along to the love songs. My brain couldn’t compute. It was one of the worst movies I’ve ever seen. And it was great. Everyone should see this movie once. Twice if you’re feeling cute.

@Adam_Pyde on Twitter, Adam Reviews Things on Facebook. CanadianAdam on Twitch.

Venom – Trailer 2 Reaction: This movie looks terrible.

By no means is a trailer indicative of the final product. Its an ad. Venom could be good, but impressions from the teaser, first trailer and second trailer leave me expecting an awful mess. I’d love to be wrong, but… jeez it looks like Sony went and Sony’d all over a Spider-Man movie again.

Forgive if I ramble, but it looks cheap and schlocky. Maybe its the suit. Maybe its because it gives me edge-lord “I’m So HaRdCoRe” vibes. Maybe its because it looks like its a Zack Snyder movie with that washed out visual palette.

There are some promising badass things: ripping the face is badass, the axe hands are badass, the big tongue is badass, having all the Hybrid symbiotes on their own is badass.

But there are some dumbass things: indistinguishable character design is dumbass, the goofy Venom face worming itself off the body to have a chat is dumbass, the “ima eat u” monologue is dumbass.

I just look at this and wonder if anyone is excited to watch this CGI fight at night between a black symbiote with no distinguishable markings versus a dark grey symbiote with no distinguishable markings? If it wasn’t for someone telling me who was who in this still I would not have known.

I feel as if the film going to suffer from what plagued Suicide Squad: combat and plot better off meant for an R rating but neutered for PG-13, and then a #bigdumb CGI ending because that’s in the recipe book for comic movies.

It just feels off.

The concept is interesting enough. Maybe it is Actually Good. Or maybe its such a bad schlocky mess it takes the needle so far below zero it comes back around to a ten.

I’m not too familiar with director Reuben Fleischer. His IMDB isn’t inspiring but there have been a lot of directors with meh previous work who have come into big budget action flicks and done well. The cinematographer worked on Black Swan, Requiem For A Dream and Pi so you can expect some interesting and weird camera work that could be hella neat.

But like, come on. Its Sony. The studio that couldn’t keep Adam Sandler happy enough to be his exclusive studio. The studio that bungled Venom once before. The studio that bungled Spider-Man so badly, twice, that they just gave most of the property back to a rival studio just to have the public not hate Spider-Man anymore. The studio that made Ghosbusters 2016 and banked on it being the start of a cinematic universe.

Or maybe its good and writing this was a waste of everyone’s time. Guess we’ll figure out on October 5th.