Tag Archives: Tom Hardy

Black Hawk Down Review

Casualties, Plato and American warfare all strike at the heart in Black Hawk Down, a Ridley Scott feature that was catapulted to acclaim by the post-9/11 feeling within America. That glean of patriotism within Black Hawk Down is not because of the tragedy that struck, but the acclaim that followed does tie itself to the feeling that swept America. That sense of love for the country is surely felt for those that need it to survive on a day-to-day basis when they see American heroes trapped in parts unknown. Fair play, Scott, it is an interesting angle to take and bolstered by the sudden strike of real-world relevancy and the horrible bloodbaths that open his feature.

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Layer Cake Review

Gangsters never truly retire, not in films anyway. Arrested? Absolutely. Killed? Most certainly. But retire? Not a chance. Goodfellas would be a different film had Henry Hill announced a successful and peaceful retirement. Grit and determination were needed for his rise up and out of the mafia lifestyle. The same goes for British crime. Guy Ritchie features do not end with “and then he retired to a life in Malia,” as Snatch would feel rather different had it done so. Even those that retire, like Ray Winstone’s Gary Dove in Sexy Beast, after retiring, is pulled right back in. Presumably, the case would be the same for Layer Cake’s protagonist, a pre-Bond Daniel Craig, as an unnamed cocaine dealer trying to get out in one piece.

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Venom Review

Are audiences ready to discuss the slight possibility that Venom is a boring villain? Simple, yes. Problematic for the webbed hero absent from this feature? Absolutely. But the anti-statement is a hard nut to crack, and the Tom Hardy-led Venom is not the feature to pick apart such a trivial discussion. It puts the “super” back into the “superhero” feature, meaning it at least has fun with its source material. But what is fun without sustenance? Where light-hearted romps through the heavy-set, darker tones of this Marvel villain are had, the leniency an audience must feel for narrative scrutiny is unwieldy. Narrative is unnecessary when pure, comic-based entertainment is the end goal.

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