Woody Harrelson | Screenlife Reviews

On many levels Venom: Let There Be Carnage is exactly what you expect it to be: a giant CGI mess of monsters getting up to all sorts of violent, incomprehensible mischief. However unlike it’s 2018 predecessor, Let There Be Carnage is unable to capitalise on the odd-couple energy of Tom Hardy’s Eddie Brock and Venom learning to inhabit a body together, instead bombarding you with constant, terribly unfunny dialogue whilst Woody Harrelson is vaguely menacing in the background. The story is practically non-existent, the characters paper-thin and it all culminates in the usual CGI showdown; making for one of the most dull superhero experiences of the year.

Now co-inhabiting one body, Venom and Eddie Brock (Hardy) struggle to find a balance between one’s desire to live a normal life with the other constantly craving human brains. Having re-established himself as a respectable journalist thanks to a series of interviews with notorious serial killer Cletus Kassady (Harrelson), Eddie decides it is time to give Venom the boot, forcing the Symbiote to search for a new host. Bad timing it seems, as Cletus finds himself in possession of a similar Symbiote; the red, ravenous Carnage, with the duo on the hunt for Eddie and Venom in an effort to cement themselves as the most powerful duo in town. But first there’s Cletus’ vocally super-powered girlfriend Shriek (Naomie Harris) to contend with, an obligatory damsel-in-distress appearance from Eddie’s ex Anne (Michelle Williams) and a nosy detective (Stephen Graham) to avoid before the predictably bombastic final battle.

The first Venom wasn’t great. A fairly stock standard superhero origin story, it was held together thanks to a pretty charming interplay between Eddie and Venom as they felt out a situation foreign to both of them, managing to change each others lives for the better (mostly) in the process. Here that relationship takes centre stage, confirming that too much of a good thing can indeed be bad. The “banter”, if you want to call it that, is incessant; constant bickering which inevitably leads to drawn out sequences of violence inflicted on Eddie by Venom. When you realise that Tom Hardy himself had a hand in the script, this shift in focus becomes more understandable and admittedly, it is pretty funny the first time Venom slaps Eddie around, less so the third time it happens.

This is also the only time that the film seems to have an actual story, with the pair bickering whilst trying to uncover the reason Cletus has taken such an interest in a down-on-his-luck Eddie. Once Eddie gives Venom the boot this story thread is simply never mentioned again. Cletus busts out of jail, bonds with Carnage and goes on a spree of mindless violence while we are treated to an extended montage of Venom at a rave, snatching the microphone from rapper Little Simz (who also has a hit single named, you guessed it “Venom”). It’s a strange ode to the wackiness of early 2000’s superhero films; a brief flash of stupid fun that would never find its way into the MCU, that is quickly swept away when you realise that this cute little side story is actually the main event; the film almost over at barely an hour long.

Thus begins the descent into the usual CGI nonsense: Venom and Carnage tussle, leaving Michelle Williams with nothing to do whilst Naomie Harris’ painful villain skulks around, firing off bad one-liners in an annoyingly, needlessly raspy voice. It’s hard to believe that the film was directed by Andy Serkis, a veteran of performance capture known for his precision and dedication to the craft, with nary a personal touch in sight. In fact Let There Be Carnage is one of the most generic, obviously studio-mandated superhero films in years; a pointless sequel designed only to cash in on the success of the first and set things up for inevitable crossovers going forward. When the most exciting aspect of your film is the post-credits scene teasing more films that will almost surely be handled by a better creative team in the future, it cheapens what was already a bad experience.

Venom: Let There Be Carnage is not so much a film as it is a montage of painfully unfunny Three Stooges-esque slapstick comedy and over-the-top, generic CGI action. Tom Hardy is solid in the role and this is clearly a character close to his heart but the sequel functions as little more than a vehicle to move Venom into more exciting territory in the future, unfortunately wasting one of his most famous adversaries in the process. There’s only one type of carnage on-screen here and it isn’t the big, red one.

Venom: Let There Be Carnage stars Tom Hardy, Michelle Williams, Naomie Harris, Stephen Graham, Reid Scott & Woody Harrelson – In Australian cinemas now and available on-demand in the US.

3/10

It’s a rare occurrence when a sequel to a beloved film arrives years later and actually lives up to expectations. For every Toy Story 3 or Blade Runner 2049 we’re usually hit with an onslaught of awful sequels like Dumb and Dumber To, Independence Day: Resurgence or the unwatchable mess that is Zoolander 2 (I dare you to try and make it through that one). Fortunately for everyone, Ruben Fleischer’s follow-up to his 2009 cult hit Zombieland is worth the wait; delivering more of the zany, over-the-top adventures of the A-List zombie killing cast with all the jokes and gore that fans would come to expect. The film doesn’t attempt to re-invent the wheel – although the limited world-building does spice some things up – and people that didn’t appreciate the first film’s crude humour won’t be converted here, but if you’re in the market for some genuinely hilarious zombie killing shenanigans, then look no further, you’ve come to the right place.

Zombieland: Double Tap picks up 10 years after we left our heroes; with the crew of Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson) and sisters Wichita (Emma Stone) and Little Rock (Abigail Breslin) traversing the apocalyptic ruins of America in the hopes of finding a place to call home and beginning a semi-normal life. Naturally this leads them to the most opulent of homes in America: the White House, where the crew settle into something of a rut, adjusting to life in their new surroundings and forgetting the worries of the chaos outside. Little Rock, however, is unable to shake the feeling that there is more out there and strikes out on her own in a search for people her own age to connect with, setting the wheels in motion for another road trip for Columbus, Tallahassee and Wichita as they attempt to track her and her newly found hippy boyfriend, Berkeley (Avan Jogia), down.

The plot of the original Zombieland was never exactly groundbreaking, with its basic “search for shelter” storyline a staple of the genre. What made it special was the approach it took to that formula, opting to focus on the personalities and interplay of its core cast of characters as opposed to the zombie apocalypse, which serves as a means of both bringing everyone together as well as making for some solid laughs. Double Tap continues this trend, thankfully, again pushing the zombies to the background and opting to focus on the characters we know and love, introducing new struggles for them to overcome and new zany personalities for them to interact with. The story is nearly identical to its predecessor, with our heroes heading towards a new safe haven in order to find Little Rock serving as the substitute for the first film’s journey to the Pacific Playland theme park. It might be easy to dismiss this as lazy writing if it weren’t for the myriad of jokes woven into the adventure and the numerous easter eggs calling back to the first film. This really is a comedy first and foremost and the pacing is swift enough to get you to the next plot beat before the jokes run out and things become stale. The jokes come so fast that it’s almost impossible to get through any scene without a smile on your face, with several recurring jokes that will have you in stitches – a gag to do with the gang’s mode of transportation in particular is pure gold.

Of course none of these jokes work as well as they do without a stellar cast delivering them and Double Tap is absolutely stacked with talent, both new and returning. Woody Harrelson has the most to do here, carrying a large amount of the comedy on his back as well as his own subplot as he struggles to understand the dynamic between him and Little Rock, who he believes he has become something of a father figure to. Harrelson was made for this role – his delivery of the crass, over the top jokes are always on point, and there isn’t a dull moment when he is on screen. The writers of the film have paid particular mind to Tallahassee when considering the time jump, as many of his jokes that would be considered a little out of line by today’s standard are addressed and poked fun at, such as his catchphrase “Nut up or shut up”. It’s a fun way to update the material for a more modern audience without diminishing or losing any of the humour from the original film. Eisenberg is solid again as the rule making hypochondriac Columbus, providing more of his signature voiceover to both entertain and introduce the audience to the new aspects of this Zombie infested world. Despite his obvious chemistry with the original cast, Eisenberg is at his best when interacting with the newer cast members, bouncing off of Thomas Middleditch’s character (more on him later) in particular extremely well. Emma Stone continues to deliver great work here, peppering in sarcastic barbs wherever she can, often providing some of the films funnier moments. The weakest link of the original cast is Abigail Breslin, who isn’t bad in her role by a long shot, but who simply just isn’t given much to do. Her character serves primarily as a plot point to spur the adventure on and her screen time is limited as a result. It’s a shame given the solid work she did in the original film, but having her out of the picture does allow for some new talent to shine.

Zoey Deutch is a revelation here as the absolutely clueless millennial Madison, a young woman who has somehow survived the zombie apocalypse living in a frozen yoghurt store freezer. The character of Madison is a clear indictment of the self-obsessed social media generation of today and it couldn’t be more relevant, as she continues to get herself into and out of hot water through sheer obliviousness to the world around her. Deutch displays an amazing comedic talent, imbuing the character with heart and knowing when to pull back on the stupidity so as to create a character that is ridiculously annoying yet always engaging to watch. In a film full of Hollywood heavyweights this relative newcomer more than holds her own and she is easily one of the best parts of the entire film. Rosario Dawson’s character Nevada also plays a key role in the proceedings, presented as a love interest for Harrelson’s character she proves that she can more than hold her own in the chaos around her. Dawson plays her character as a hardened warrior with a soft spot for Tallahassee, who she bonds with over a mutual love of Elvis Presley. Don’t expect to see a whole lot of Nevada however, as she falls prey to the same injustices as Little Rock, in that she is largely present to propel the story forward. It’s unfortunate given the skills of Dawson, but she makes the most of her screen-time and leaves a lasting impression. Rounding out the cast is the duo of Luke Wilson’s Albuquerque and Thomas Middleditch’s bumbling Flagstaff. The pair are positioned as the doppelgängers of Columbus and Tallahassee, each playing off their counterpart to delightful effect. While it might not be the most highbrow of comedy concepts it is infinitely enjoyable to watch Wilson and Harrelson sling insults at each other in almost identical Texan drawls or Eisenberg and Middleditch compare and insult each other’s rules and commandments for surviving the zombie apocalypse.

It’s fair to say that no one was really expecting too much from a Zombieland sequel 10 years after the original. All the key actors had moved onto other projects and even more successful careers and the original was seemingly destined to be lightning in a bottle; an impressive feat just to have this cast in the same movie. Double Tap not only delivers on the promise of getting this cast back together on their A-game, but throws in several new incredible actors, a seemingly endless stream of quality jokes and the right amount of heart to make this one of the most purely fun experiences at the movies this year. While the plot might not be the most creative, the characters are what you come for and they deliver in spades. If you’re complaining that there’s nothing good to watch at the movies this week and haven’t checked out Zombieland: Double Tap, then it’s time to nut up or shut up.

Zombieland: Double Tap stars Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin, Rosario Dawson, Zoey Deutch, Thomas Middleditch, Luke Wilson & Avan Jogia – in cinemas now.