After rumors of the film being delayed into 2022, Sony has done the opposite and moved up the release date for Venom: Let There Be Carnage. Originally set to be released on October 15, the film will now be released on October 1. The decision is based on the “success” of Shang-Chi and the Legend of Ten Rings which saw an estimated $90 million Labor Day weekend.
Tickets will go on sale Wednesday for the film which will screen in 3D, PLF, and Imax.
The original Venom was released on October 3 and opened with $80.3 million. The sequel would have seen competition with Halloween Kills if it kept its October 15 opening, so the move is not unexpected and likely helps boost the film’s first weekend gross. October will still be a touch month with No Time to Die opening on October 8, Halloween Kills on October 15, and Dune on October 22.
Netflix has won the rights to stream Sony Pictures‘ theatrical releases starting with the studio’s 2022 releases. The deal also includes a first-look with Sony for all the direct-to-streaming films from the studio. Netflix is required to commit to a certain number of titles and doesn’t stop Sony from selling direct-to-streaming titles to other services, Netflix would have to pass first though. Netflix also gets the streaming rights for an unknown number of older films in Sony’s vault.
The deal only covers the United States and is believe to be owrth hundreds of millions of dollars.
Sony has been agnostic as far as streaming and video-on-demand forgoing their own branded platform to instead license entertainment to others.
The deal with Netflix is a change as Sony had a deal with Starz, which is now owned by Lionsgate. That deal has been in place since 2006. The Netflix deal is believed to be for five years and would lock in Sony’s films with Marvel Studios once again making Netflix part of Marvel’s film future. No doubt the guaranteed success of the next Spider-Man, Venom, and more in that universe was part of Netflix’s decision.
This deal is on top of the deal that Netflix has for Sony’s animated releases.
About 74 million out of Netflix’s 204 million live in the United States.
The very first feature-length film based on a Valiant property was released on digital this weekend after spending a short time in theaters; Sony Pictures‘ Bloodshot starring Vin Diesel as the title character. I was able to get to the cinema a few days ago to check out the film, and have been thinking about it on and off for a few days. I wanted the film to sit with me so that I could really mull my thoughts about the movie.
Before we get anywhere, there won’t be any plot specific spoilers in the below review assuming you’ve watched the trailers released.
The character originated in the 90’s, created by Kevin Van Hook, Don Perlin and Bob Layton, is a recently deceased man brought back by a shady weapons tech corporation for their own use by the use of billions of tiny robots in his bloodstream. it’s these little machines that give him an ability to heal from pretty much anything, enhanced physical attributes, the ability to “talk” to other machines and ghost-white skin with a never healing open wound on his chest.
Bloodshot takes the core concept of the character and throws in an equal blend of Vin Diesel, an A to B plot with a twist that’s revealed in the international trailers (or, you know, is in the comics), of well-paced action. And humor – most intentional, some not. But that’s as far as the movie uses its comic book inspiration. For the most part, this is a straight action movie that just happens to be based on a comic book. It’s a break from the MCU movies we’ve seen over the last few years and their somewhat formulaic (but no less enjoyable) superhero stories. Bloodshot is more Terminator and Pitch Black that it is Iron Man.
It’s refreshing in its simplicity, and while I saw the twist coming long before my arse was in the chair, there’s a chance that those who aren’t readers will be taken by surprise. It’s a very well-orchestrated film.
It feels disingenuous to say that this movie is a pretty straight forward action film, but it really is. Despite the potential to really explore the themes of a man being manipulated by technology and corporations to do things he’s barely aware of, the film requires less of your grey matter than it could have. This isn’t necessarily a bad thing, but it does mean that Bloodshot needs to stand on its own as a competent action movie, and it does just that. There’s no real Easter Eggs in the movie that’ll alienate moviegoers, and there’s absolutely nothing here other than Bloodshot. The film doesn’t try to introduce characters for the next movie in a potential Valiant Cinematic Universe. I get the sense that if that happens, then this was a good starting point. If it doesn’t, then we still get a solid action flick.
The only issue I had with the comic book adaptation part of the movie was honestly an aesthetic choice. Bloodshot’s two most defining aspects are his white skin and the bloody circle on his chest. Neither of which are present for any great length of time in the movie and certainly not long enough to make a lasting impression. Other than that, though, I’ve no real complaints about the movie. It took a comic book I enjoyed, honored the core concept of the character and touched on a couple of themes that could have been explored further. Which brings me to this; letting go of the past to embrace the future and the manipulation of humanity by technology and corporations are great backdrops to this film and fit the source material very well.
Bloodshot isn’t on par with Endgame, but then to compare the two is like comparing a tomato with Stonehenge. They’re just two totally different things. What Bloodshot does incredibly well is telling a story that translates very well as a comic book adaptation to the big screen (or to a streaming service near you now that the movie has been released digitally already). It never strays too far from an action movie formula, which isn’t a bad thing. I enjoyed the hell out of this movie as a fan of the comics and the character when I saw it in theaters, and I’m enjoying it again now.
Bloodshot isn’t a perfect movie, but it’s damn fun. And that’s what matters.
One of Marvel’s most enigmatic, complex and badass characters comes to the big screen, starring Academy Award nominated actor Tom Hardy as the lethal protector Venom. Venom comes to screens October 5, 2018.
After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.
Edgar Wright is one of my favorite writers and directors having yet to disappoint in a film and effortlessly blending action and humor. Baby Driver, his latest film, leans heavier on the action side of things, but also gives us his best work yet in a movie that blends action, humor, and music in a way that feels original and a nonstop ride.
Actor Ansel Elgort shines as Baby, the “Baby” in Baby Driver who is forced to be the wheelman for some bad folks. It’s a good thing Baby is a natural behind the wheel moving a car like some direct symphonies. The film opens with a sequence that sets the tone as to what we can expect and for just shy of two hours we’re treated to a music driven action film that feels like as much as a ride as it is a movie.
What surprised me at first is the use of music which feels not like a soundtrack but instead we’re part of the action surrounded by the thumping sound. It’s diagetic, as Baby experiences the music, so do we. It also emphasizes the role music plays driving our lives and helping us perform our actions. Even a scene in a laundry mat feels like it’s straight out of a music video.The music too provides clues as to Baby’s life. Wright brilliantly uses the music to teach us about Baby’s life allowing a backstory to be presented without wasting time with filmed scenes.
The music too provides clues as to Baby’s life. Wright brilliantly uses the music to teach us about Baby’s life allowing a backstory to be presented without wasting time with filmed scenes. It also provides clues as to where things are going. As Baby’s world unravels so does the music as it slows and becomes eratic. It’s impressive and one of the best usses of music in any film I’ve experienced.
Ansel is cool in a movie full of cool individuals. A relative newcomer, Elgort goes toe to toe with Jon Bernthal (underused), Jon Hamm, Kevin Spacey, and Jamie Foxx. That’s impressive, beyond impressive. Eiza Gonzalez and Lily James are newcomers to me and deliver fantastic performances as well, one bad ass and the other Bonnie to Elgort’s Clyde. Everyone, no matter how big the role, nails it. Truly impressive is CJ Jones who plays Joseph, Baby’s caretaker who is now being taken care of. Jones is the rarity in films a deaf individual playing a deaf character and his inclusion shows how focused on the details Wright was when creating this film. While a lot of the characters and performances borderline on tropes/stereotypes, each is beyond enjoyable and most importantly fun.
Baby Driver is a mix of films, Goodfellas, Heat, Fast and the Furious, but still stands out as an original. This is my favorite film of the year by a long shot and one I could watch over and over. Baby Driver is a music driven, action packed, adrenaline fueled, instant classic.
Yesterday the trailer for Spider-Man: Homecoming debuted. Two in total were released including an international trailer which features a slightly different cut, more footage, and some different dialogue.
This is the FIRST trailer for Spider-Man: Homecoming starring Tom Holland, Robert Downey Jr. and more, in theaters July 7th.
A young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, begins to navigate his newfound identity as the web-slinging superhero in Spider-Man: Homecoming. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his Aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey, Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man – but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.
Directed by Jon Watts. Produced by Kevin Feige and Amy Pascal. Screenplay by Jonathan Goldstein & John Francis Daley and Jon Watts & Christopher Ford and Chris McKenna & Erik Sommers, Based on the Marvel Comic Book by Stan Lee and Steve Ditko.
After a multi-party bidding war, Scott Snyder and Jeff Lemire‘s A.D: After Death has been acquired by Sony. The three-part series is being published by Image Comics. Snyder and Lemire will serve as Executive Producers on the project.
Josh Bratman of Immersive Pictures will work alongside Eric Fineman at Columbia to produce the film. Bratman is also developing Lemire and Dustin Nguyen’s comic series Descender into a feature film franchise.
A.D. is set in a future where a genetic cure for death has been found. One man, years after the discovery of the cure, starts to question everything, leading him on a mind-bending journey that will bring him face-to-face with his past and his own mortality.
A.D. is the first project Snyder and Lemire, longtime friends and both acclaimed and bestselling comic creators in their own right, have worked on together. This is the first project Lemire has illustrated that he has not also written. Book 1 was published November 2016, with Book 2 available December 21, 2016.
The deal for A.D.: After Death was brokered by Angela Cheng Caplan of Cheng Caplan Company, Inc., along with Lemire’s attorney Allison Binder of Stone, Genow, Smelkinson, Binder & Christopher, LLP and Snyder’s attorney Lillian Laserson of Laserson Law.