Favourite 10 Films of 2019

First (and last) post of 2019! Despite having time on my hands this year I haven't felt the inspiration to write reviews, although two films did make me start drafting some words – the new Hellboy, probably the worst film I watched all year, and It: Chapter Two, which left me as underwhelmed and frustrated as the first part – but I ultimately couldn't face fleshing out my disdain. This year however I watched a good number more films than I've managed in each of the previous five, so that's a positive.

When it comes to pulling together this list I've concluded the criteria that a film has to be released in the UK / somewhere in the world during the year has to be relaxed permanently for films seen at festivals. Since 2015 the London Film Festival has become a major feature of my year and usually at least half the films I see want to be on my end of year list – it's impossible to ignore their inclusion even if they aren't actually released in that year. This year four of the films on this list have a 2020 UK release date and two of those aren't released anywhere in the world until 2020.

As usual, all the films I watched this year are listed in order here – letterboxd.com/davidhunt14/list/2019-films-watched/ – which numerically looks like:

185 - total films watched (+34% YOY)
48 - films watched at the cinema (+20% YOY)
58 - films released in 2019 watched
4 - films to be released in the UK in 2020 watched
0 - films watched more than once in 2019

Here is the list of 10, presented alphabetically. As ever, this is a subjective list of my favourites, not a list proclaiming what is "best" (however you might quantify that!). Enjoy!


Ad Astra

 
A big budget existential space story about an astronaut looking for his father, with shades of 2001: A Space Odyssey about it. It won't be for everyone but it had me from the get go. Brad Pitt is that astronaut and he feels perfectly cast doing his more silent than talking thing, as he navigates himself to Mars and then beyond. The near future setting and the way it's shot and directed feels both stark and enticing, especially throughout the first half of his mission. The story does weigh heavily on "daddy issues" which is somewhat affecting whilst frequently seeming overwrought. But that said it looks and sounds incredible and was a journey thoroughly worth taking.


Captain Marvel

I've said it so many times before but Marvel is at its best when telling origin stories, and so here we are with Captain Marvel which does a thoroughly satisfying job of bringing a new character into play. Being partially set off-Earth adds to the interest level – think how well that worked in Guardians of the Galaxy and the Thor films – and the nineties setting is a huge plus allowing for some fun nostalgia based comedy alongside a great soundtrack. Having a younger Nick Fury (Samuel L. Jackson) in tow as a sidekick is intriguing if a little jarring at first due to the de-ageing effects, but of course the main reason it works so well is Brie Larson, who makes the Captain Marvel / Carol Danvers character so easy to root for and engaging to watch. She has a casual charm that makes you believe she's the best at everything she does. Why it took Marvel 20 films before it made one with a female lead is a mystery, but Captain Marvel was my favourite superhero film of the year because it was fun and great escapist entertainment. Oh, and lets not forget that cat!


Color Out of Space

A lot of people are going to want to see Color Out of Space because of perceived similarities to Mandy, but forget about that great film when going into this. It's mostly far more conventional in that it tells of the strange goings-on after a meteorite lands on a family's land, but it builds and builds into its own weirdness, which is to be expected as it's based on an HP Lovecraft story. Nicolas Cage brings the entertainment value as his usual self, although it's the two younger cast members who are more interesting. Director Richard Stanley has returned from a near thirty-year self-imposed hiatus determined to set the screen alight, as we get gradually more and more bathed in overwhelming pink and purple light, whilst Colin Stetson's great soundtrack makes the atmosphere even more disconcerting. It's a thrilling trip.


Doctor Sleep

We never really needed a sequel to The Shining and Doctor Sleep does a great job reiterating that point. Yet it's on this list, so how does that work!? That's because the first three quarters of the film are really rather good, telling a fascinating story that takes its time with the characters and slowly builds atmosphere and intrigue. The casting and acting helps a lot, most notably Rebecca Ferguson who is one of the best villains seen all year, and it's so easy to lose yourself in this story which, mostly, feels only tenuously linked to The Shining (if you forget who the main character is!). Where it falls down is the finale which deeply intertwines itself with the original story, pulling you out of this new world in a really jarring manner. Still, great work Mike Flanagan at creating a damn good film that works because it stands on it's own feet.


In Fabric

In Fabric is batshit crazy. When I came out the cinema it probably wasn't on this list, but six months later I've had time to dwell on it and here we are. This is a film about a killer dress. Yes, you read that right, a blood red killer dress. But this is a Peter Strickland film so you've got no right to expect an easy ride. The dress is passed between different people with terrible consequences, but all roads lead back to the department store of its origin. There's clearly something evil at play here with a highlight being the coldly malevolent staff working at the store. Everything about the film feels quintessentially British but in an off-kilter manner that suggests the pits of hell might suddenly open. It's like watching a lost 1970's horror film that's also kind of funny. Kudos to Strickland for continuing to make uneasy, weirdly hallucinogenic films.


Jojo Rabbit

Trying to describe Jojo Rabbit and make it sound appealing is something of a challenge – German boy joins Nazi youth camp and has an imaginary friend in the shape of Hitler. Oh, and it's partially a comedy. However, it's directed by Taika Waititi so that gives some indication of where this is going and as a result totally works. The comedy is off-the-wall but importantly it knows when to reign in the zaniness for moments that are genuinely moving. The message may be glaringly obvious but it's all performed with such zeal by the cast, especially Roman Griffin Davis as the titular lead. The fact that it delivers such a wide range of emotions is a huge credit, and besides, it's only Maori-Jew Waititi who could convincingly pull off playing an equal part comedic and terrifying version of Hitler with a Kiwi accent. 


Knives Out

Knives Out is one of the most enjoyable films watched this year. It doesn't set out to reinvent the wheel or break barriers, instead it hearkens back to the classic whodunnit, a genre we see all too infrequently these days. By assembling a superb cast and creating a fantastic set in the form of a creaking old mansion, Rian Johnson crafts a mystery that keeps you guessing and on the edge of your seat until its final resolution. Ana de Armas is particularly engaging as the real lead amidst the cast of stars, plus it's full of neat little touches, such as the interviews at the start and the introduction of Daniel Craig's Benoit Blanc character. There's definitely scope for more films based around Blanc so fingers crossed that happens!


The Lighthouse

Fair warning, The Lighthouse is not an easy watch. Shot in black & white and tightly framed in 1.19:1 ratio, it's an intense and claustrophobic experience, made all the more challenging thanks to the true to the time mariner dialogue and an overwhelming score. If that doesn't sound like too much it's also offers an acting masterclass – Willem Dafoe is award-worthy as the seasoned and salty lighthouse keeper and Robert Pattinson is almost as good as his younger apprentice. It's shot through with an altogether too human horror as the last vestiges of sanity slip thanks to the isolation and savage conditions. Robert Eggers marked himself as a director to watch with The Witch and he proves himself yet again.


Midsommar

Just a year after the release of Hereditary, my favourite film of 2018, writer/director Ari Aster was already providing a new offering. Midsommar doesn't live up to that previous film but it's a different beast – light vs the darkness. Okay, so light might be a bit of a misnomer, but it's almost entirely set in the Swedish countryside at a mid-summer festival and mostly during day time. There's a slow sense of unease that begins to build and sits just underneath the surface, although because of the prevalence of daylight it never feels quite as unnerving as it otherwise might, but then that is one of the reasons why the film is so interesting because it adds to the sense that there is no escape from this place. It also makes the brief bloody moments all the more visceral. Hopefully Aster keeps twisting his stories in interesting directions.


Synchronic

Benson & Moorhead are on a roll. Back in 2015 Spring was on my best of the year list. In 2017 The Endless was one of the stronger films I saw. With Synchronic, their latest film, it feels as if they've refined all that good stuff and this time have a bit more budget to play with. In short Anthony Mackie and Jamie Dornan play paramedics who are having to deal with some weird call-outs thanks to a new designer drug. To say more would ruin the fun of the plot, but the pair are making a name for themselves by pulling in an edge of sci-fi and horror into their films (the former in Synchronic) which not only elevates them, but leaves you guessing as to where the story is actually going. My only real complaint is it's not longer and there's not more of it! [Note: look out for it in 2020/2021]

Favourite 10 films of 2018

Looking at this list after having put it all on page I'm struck at how dark this collection of films is. Four horror films and a fifth that flirts with the genre. I cannot remember the last year I saw four new horror films that I thought were decent, let alone four that were worthy of being on an end of year list. At least, alongside these, the dark crime thrillers and weird period drama, there's a kids film to balance things out. And it's refreshing not to have a single superhero film on the list this year – not a deliberate decision but those that came out this year just weren't good enough, despite each proving very entertaining in their own right. In these strange times the films on the list below just offered something... more.

As usual, all the films I watched this year are listed in order here – letterboxd.com/davidhunt14/list/2018-films-watched/ – which numerically looks like:

138 - total films watched (+14% YOY)
40 - films watched at the cinema (-9% YOY)
57 - films released in 2018 watched
4 - films to be released in the UK in 2019 watched
0 - films watched more than once in 2018

Here is the list of 10, presented alphabetically. They needed to be released somewhere in the world in 2018 (ie not just show at film festivals). As ever, this is a subjective list of favourites, not a list proclaiming what is "best" (however you might quantify that!). Enjoy!


A Quiet Place

This is high concept horror where success relies on two key factors – effective sound design and an audience's willingness to play along. If you were lucky enough to see A Quiet Place in the cinema with the latter point being so, this was quite an experience, as a couple of hundred people were respectful to the concept and collectively held their breathe, repeatedly. It's one hell of an experience and possibly the most tense watch this year. John Krasinski does a great job pulling this all together in his directorial debut (he's had a decent year, what with this and Amazon's Jack Ryan series) but Emily Blunt steals the film with great physical acting. I say it repeatedly but taking away a reliance on dialogue can really force a much better focus on storytelling and creativity. Suspend your disbelief and go with the concept and you're in for a great ride.
[Read full review]


Assassination Nation

Assassination Nation is a wild ride. It's also one of the most vital films of the year. Bringing the Salem witch trials into the modern world kicking and screaming, it's brash, violent and utterly unapologetic. This is an indictment of the negative effects of social media and technology, the need to always find blame somewhere, the vacuousness of modern youth and so much more. But most importantly it's about female empowerment and shouting "fuck you" in the face of oppressive forces. Odessa Young puts in a great lead performance, as do her friends. Whilst Sam Levinson seemingly directs with a more is better maxim, leading to sensory overload both visually and aurally – as if Oliver Stone's Natural Born Killers was brought kicking and screaming into the world of 2018. This is absolutely a positive as it works so much better being right up in your face. Assassination Nation is a dark, savage film with so much to say, and definitely one of the unexpected highlights of the year.


Believer

Believer is a superior police thriller. This South Korean film tells a gripping story using that age old trope of cop vs criminal, but has enough personality and creativity that it keeps you on your toes. It's never totally straightforward and there's a slight ambiguity to the ending which makes it linger. Jin-Woong Cho is a sympathetic and believable lead and Hae-yeong Lee directs well, making good use of music and the camera. Nothing here is new, but Believer delivers a thoroughly entertaining viewing experience with enough of it's own personality.


BlacKkKlansman

Spike Lee is firmly back in familiar territory with BlacKkKlansman. This is a genuinely curious real life story (albeit overly embellished) that's really well told, if a little heavy-handed at times. The overall message is really very relevant so any lack of subtlety can be forgiven, and for every person who finds the final couple of minutes a little manipulative there's no doubt a handful who find it deeply affecting. Both John David Washington and Adam Driver are great to watch as they get more and more entangled in this crazy scenario, which despite being overly dramatised works for the film. Like Assassination Nation it's hard not to view BlacKkKlansman as one of the more vital films of the year (despite telling a story from the 1970's) which is a sad indictment of how things remain in 2018.


The Favourite 

Period drama usually needs some form of hook to entice me in. How about director Yorgis Lanthimos, of The Killing of a Sacred Deer and The Lobster fame, offering his own off-kilter and darkly comic take on the genre? Throw in excellent acting from a game cast and you have a great little film that builds and builds leaving you wondering what the hell you just watched. Lanthimos tones things down a little from previous films, which coupled with a sharp script and some awesome camera work really delivers something unique. And the more you think about The Favourite the more it worms it's way in – the sign of something very good!
[Read full review]


Hereditary

There are some dark films on this list but none more so than Hereditary. This is a layered horror film that takes a key lesson from the masters of decades passed – take your time. The build is slow with much of the first hour playing out as a meditation on familial grief; a fascinating drama with just enough weirdness to keep you on the hook for what's to come, not forgetting one jarringly brutal sequence that stays with you. And then the more familiar horror takes hold, but it's delivered in such a convincing manner that it continually impresses. Writer/director Ari Aster does a fantastic job delivering something that feels different as he keeps on turning the screw, confidently ending the film in a way that lingers. Whilst the ominous score by Colin Stetson certainly helps too. Hereditary may just be my favourite film of the year.


Isle of Dogs

Trust Wes Anderson to make a kids film that's totally off-the-wall. Of course it's not his first aimed at a younger audience, but Isle of Dogs is an original and he runs with the opportunity to make something that's unlike anything else out there these days. The story is typically esoteric, filled with all manner of weird humour, and the mix of English and Japanese language works well. It is a very engaging story albeit with a predictable twist, but there's plenty of little nuggets aimed at adults too. The stop-motion animation is obviously fantastic, with each character realised superbly and a great cast of famous names / Anderson regulars lending their voices to bring them all to life. Isle of Dogs is not only loads of fun but a film filled with far more creativity than most out there.


Mandy

The expectation here is of Nicolas Cage bringing his trademark weird in a familiar story of revenge. The surprise is that Mandy is an hallucinogenic nightmare; maximalist in its entire approach. Cage does indeed give an over-the-top performance, at least in the second half of the film, which serves as an anchor. But it's director Panos Cosmatos' whole approach that not only blows the mind but the eyeballs too. The film is shot as if we are on a bad trip – a kaleidoscope of colours, superb little visual tricks and creative camera work, whilst the fantastic score by Jóhann Jóhannsson takes the tectonic weight of overly amplified drones and makes it feel as if the world is ending. Sure, a lot of this serves to hide the fact that the story is pretty thin and drawn-out, but what makes Mandy so enticing is how it's presented. Imagine if Terrence Malick dropped a ton of acid, switched allegiances to the dark side and let a gnawing hopelessness slowly and brutally suffuse it's way across the screen. Yeah, it's as fascinating as that sounds.


Suspiria

Suspiria is the film I've most wanted to re-watch this year. Since walking out of the cinema something about it has stuck in my head, making me want to plunge back into it's bloody waters. It is mostly the denouement that's driving this – a feverish descent into hell that's far weirder than Dario Argento's original, but also the fantastic dance sequences and a need to re-evaluate the full over-arching story. Most of the film is very controlled and it is over-long, but there's much to take in. There was never a need to remake the Suspiria of 1977 as it is a true horror classic, but this version more than justifies it's existence as it expands on the original and positively tweaks things in ways that serve this version of the story. Plus it's superbly acted, shot and scored. It takes it's time but the journey is worth it.
[Read full review]


Widows

The return of Steve McQueen is very exciting. After consistently proving himself with his previous three films we've had a five year wait, and Widows does not disappoint. On the face of it this is a heist thriller, but that's just the overarching story that allows him to focus in on a minutiae of societal problems around Chicago. The plot slowly builds as an ensemble of players are drawn in and the cast is uniformly great, anchored by Viola Davis' layered performance. And as expected we're treated to more of McQueen's incredibly creative use of the camera as he shoots and frames certain scenes in unexpected ways; something that elevates all his work. All of this easily marks out Widows as one of the best films of the year.
[Read full review]

London Film Festival Review: The Favourite

(Dir: Yorgis Lanthimos, 2018)

The world needs more directors like Yorgis Lanthimos. So much of what gets released is utterly formulaic and uninspired, thus seeing Lanthimos take what would have been a generic period piece and elevate it to so much more is genuinely exciting. The Favourite is set in the court of Queen Anne in the early eighteenth century at a time of war with France, as her deep friendship with Lady Sarah (Rachel Weisz) is challenged by the arrival of Sarah's distant cousin Abigail (Emma Stone). But it's so much more interesting than that quick description makes it sound!

The cast are all fantastic. Olivia Coleman's turn as Queen Anne is excellent as she slowly succumbs to her ailments whilst wallowing in a deep, lonely pathos, pierced only by brief moments of childlike petulance. The fact that the two main people vying for her attention and attempting to curry favour with her are female makes this a refreshing watch. Weisz's Sarah holds the smarts to direct the queen towards her view of the right direction for the country, giving a performance of confident authority. Her verbal sparring with leader of the opposition Harley (Nicholas Hoult) is delicious. Whilst Stone's Abigail is sweet and conniving with a clear focus, subtly playing the long game. She is similarly given a male counterpart a to spar with, Joe Alwyn"s Masham, and that is also great to watch. The women here very much have the upper hand.

But it's the script and Lanthimos' superb eye for the absurd that seals the deal. It's all slightly off-kilter but never in a way that makes you think it's over-done or descending into farce. The script is super-sharp and genuinely funny, with all of the cast fully embracing it – Hoult should also get a mention here as he is clearly having loads of fun playing dress up! The camera work is sublime, making full use of the huge hallways and spaces of Hatfield House with lovely tracking shots, and then skewering our perspective by shooting scenes with a fish eye lens. The lighting is gorgeous too, especially the copious amount of candlelight used for the night time scenes. But most importantly it's the moments lingering on an actor's face, immersing us in their reactions, unable to pull away no matter how uncomfortable it gets. That gets us to the heart of the characters and the story. And that final scene...

Whether or not period dramas are your thing, The Favourite is worthy of your time. If The Lobster is Lanthimos playing up the absurdist angle and The Killing of a Sacred Deer is a suffocating spiral into darkness, The Favourite applies a lighter touch to both of those approaches and is all the better for it. It will still leave you feeling a little unsure what you just watched but that just invites you to dig a little deeper the more you think about it. And let's take a final moment to recognise the real star of the film – Horatio the duck (you'll see)!

London Film Festival Review: Suspiria

(Dir: Luca Guadagnino, 2018)

Should there be such a thing as untouchable films; sacred cows that exist in perpetuity never to be remade or reimagined? There is a of course a double standard – Gus Van Sant got skewered in 1998 for remaking Psycho whilst Bradley Cooper is currently receiving plaudits for a fourth version of A Star Is Born. The music industry has always relied on the cover version (or standards as they used to be called). Why shouldn't classic films be reimagined if they can bring something new to the table? Perhaps they can actually improve on the original (a heretical thought!)? Of course if you don't like the idea of a new version you don't have to watch it and the original will always exist! 

In the horror canon Dario Argento's Suspiria is hailed as something of a masterpiece, hence the inevitable consternation about this new version. However director Luca Guadagnino has wisely called his 2018 update a "cover version" and actively tries to bring something new to the table. This is still the story of a young American dancer joining a German dance company only to discover there's something very sinister lurking beneath the surface. But it's an expanded version of Argento's original. The setting is Berlin in the late seventies, amidst the waves of social unrest and terror campaigns, which plays a fairly significant role in the setting and tone of the story. It's always grey, always raining or snowing, and a bleak place to exist. But it's somewhere that Susie (Dakota Johnson) is drawn too, especially to company artistic director Madame Blanc (Tilda Swinton), seemingly ever since her youth.

Susie is put through her paces by Mme Blanc and Johnson does a fantastic job with the complex choreography, as do the whole company, making the dance scenes a pleasure to watch. There's always a portentous quality to them as they veer into avant-garde territory, whilst the music is dramatic and the malevolent eyes of the matrons delight in the potential of what they see. It feels like there's a real purpose behind the dancing beyond it existing as a façade. There are perhaps fewer strange goings-on than in the original, but Guadagnino deviates path as the film progresses to it's final acts, leading to something much weirder yet strangely more satisfying. 

The film is shot on 35mm and utilises stylistic qualities from years gone by, making it seem to fit into it's timeframe, the era the original came from. One of Argento's most notable elements was his use of colour, primarily red. This new version doesn't forget that but it takes it's time to make an appearance as much of the setting is muted and drab.

Suspiria takes it's time. It's almost an hour longer than the original and it is a long slow build. There could've perhaps been a little tightening up along the way but the cast grip your attention, especially Johnson, Swinton and Mia Goth, who plays the inquisitive Sara and takes on some of the plot driving elements from the Suzy of the original. And not forgetting Dr Josef Klemperer (Lutz Ebersdorf – or is it?) who is an intriguing character given a lot of attention, but who mostly seems fits with the wider context of the story's setting.

Ultimately this new take on Suspiria is a worthy adaptation of the original, starting at the same place but ending up in some other hallucinatory mindfuck. The denouement is superb and although it takes it's time getting there, it's worth taking the journey. Plus we get to enjoy some excellent dance scenes and a very good soundtrack along the way. Both films excel in different ways and this new version is very good, justifying it's existence.

London Film Festival Review: Widows

(Dir: Steve McQueen, 2018)

The simple suggestion of Steve McQueen directing a heist thriller put Widows at the top of this years London Film Festival must-watch list. It's been almost five years since 12 Years A Slave, his last film, and he continues to be one of the most exciting directors working today. Hence the excitement about what he could bring and how he could twist a genre that's been done to death.

From the get go his creative fire and love of using the camera in unexpected ways is on display – the opening few minutes showcase a car chase shot on a single camera providing a character-focused perspective on events, putting us inside the action, whilst jarring edits jump back in time to brief scenes involving those in the vehicle, establishing context. It's a masterful start, and when you pay attention to the casting you are forced to check your usual expectations about who the key players actually are.

This is very much a character piece, and Viola Davis' Veronica is a powerful lead, pushed into a shitty situation and forced to react as she only knows how. There's a steely determination on show, seemingly ice-cold on the surface but churning underneath with a depth of emotion that rises up in private. She's joined by Michelle Rodriguez's Linda, Elizabeth Debicki's Alice and Cynthia Erivo's Belle. All have their own issues to deal with but are thrust together and form a great unit. These are fascinating, well-written characters with great performances bringing each to life, as they learn to utilise the skills they didn't know they had.

The heist and its planning are well executed, but Widows is more focused on a host of societal issues. Set in a Chicago district there's a huge amount of politics at play: from the privileged Mulligan family (Colin Farrell and Robert Duvall) who – mostly – see it as their family right to run this part of the city and profit accordingly, to brothers Jamal (Brian Tyree Henry) and Jatemme (Daniel Kaluuya) who believe that politics and the inherent corruption is the legitimate way to expand their criminal enterprises; to how the church can sway an election, the impact of zonal redistricting and the smoke and mirrors of publicly embracing black female business owners whilst keeping them indebted to a white paymaster. Not to mention what one has to do to survive as a single parent.

Widows is clearly more than just a standard heist thriller and these extra layers are core to it's success. Creatively speaking it does feel like McQueen's most conventional film, but that still puts it ahead of the abilities of most directors and it's full of fascinating little flourishes – the car ride Farrell's character takes home after an event is a prime example as it works on so many levels. But again it's how he uses and positions the camera – what does he show us, what does he stop us seeing and what is our perspective for it all? Ultimately the film is so successful because of the characters, acting and writing – predominantly the four leads but also the supporting cast, especially the supremely menacing Kaluuya. Widows may well end up being one of the best films of the year.

Review: Venom

(Dir: Reuben Fleischer, 2018)

Venom is the closest any of the films in the modern Marvel sphere have gotten to horror (we're talking about the post Blade trilogy Marvel renaissance of course, and it should be noted that Venom is not part of their bigger universe). No-one could actually claim it as a horror film, but the first half intriguingly toys with dark atmospherics, allusions to zombie flicks and body horror. And of course there's the Venom character himself – an horrific looking alien, all razor sharp teeth, slithering skin, demonic bug eyes and that muscularly lolling tongue. He's superbly realised on screen; surely the stuff of nightmares for some. He takes a little while to appear but how he's revealed through his symbiosis with Eddie Brock (Tom Hardy) is effective.

Hardy is a solid choice for Brock with his cross of muscularity, intelligence and ability to pull off the requisite physical comedy. Initially he's particularly engaging, almost playing against type as a happy, successful, erudite reporter. Although he all too quickly descends into the more commonly seen moody Hardy, but clearly has free reign to go a little crazy in the role. Once past the dark set-up (it's a shame it never follows through on the horror vibe!) it all regresses into standard overblown, action-heavy beats. The overarching plot is a rudimentary, by-the-numbers, got to stop a megalomaniac bad guy story. It serves it's purpose for getting Brock to Venom, but beyond that it distracts from the real, more interesting story of Brock and Venom becoming "we".

There are plenty of comedic overtones at play which offers some balance. This is particularly effective in the form of the Brock/Venom dialogue but it could've used even more of this. The way Venom's voice has been mixed into the overall sound design of the film is slightly jarring and disorientating, which was a smart decision. But on the other hand it's all frustratingly bloodless. We're in a post Deadpool / Logan world where the reality of the violence meted out by comic book characters is writ in crimson and riddled with body parts – so it is disappointing to not see that applied to such a dark character (he has a penchant for biting off people's heads after all!). It is however refreshing to see love interest Anne (Michelle Williams) be a strong character. She may be under-utilised but is thankfully not pushed into the old damsel in distress scenario. Whereas Riz Ahmed plays Carlton Drake with a manically predictable megalomania, but always feels too young, despite clearly trying to ape today's young billionaire tech CEO's.

Venom is an entertaining first attempt at the character (forgetting Spider-Man 3 of course) and there's certainly more to like than dislike. A sequel direction has been teased – let's just hope it pushes the character angle more than the OTT CGI action, whilst amping up the comedic dialogue and the bloody violence.