I saw Black Widow...

 

Black Widow is a full-adrenaline, character-driven winner and much of its success springs from to its sultry lead: smokin' hot Scarlett Johansson. She takes her iconic character, Natasha Romanoff, to new Marvel-ous heights in this tardy but vivacious, vengeance prequel. 

Directed by Cate (Berlin Syndrome) Shortland and written by Eric (Thor 3) Pearson, Jac Shaeffer and Ned Benson, the prime plot occurs between Civil War and Infinity War (circa '16), but not before we get a flashback explanation as to how an adolescent Widow came to be. The transformation ties to her makeshift family and a heap of deceit, but that's only the start of this energetic thriller, which plays like Flint meets Bourne meets Bond, with ample Emma Peel, Honey West and Modesty Blaise wedged in. 

By the way, William Hurt's General Thaddeus "Thunderbolt" Ross makes a crafty return (reminding us how much we miss the Hulk), and the movie's premiere (supporting) characters, Yelena Belova (Florence {Midsommar} Pugh), Melina Vostokoff/Widow #1 (Rachel {the Mummy} Weiss); Alexei Shastokov/the Red Guardian (David {Hellboy} Harbour); and Rick Mason (O.T. {Maxxx} Fagbenle), are identifiable enough to secure a faithful, cinematic fan base (due in large part to the performers' frothy interpretations), but their presence exists first and foremost as Ramanoff support. This leaves our eponymous, get-even gal to take the reins as she battles the dangerous duo of Dreykov (Ray Winstone) and his mimicking henchman, Taskmaster (Olga Kurylenko), who command a limber Widow vanguard that can leap into lethal attack at the mere press of a console key. 

The action sequences, in particular the from-America-to-Cuba prelude and the big, prison-break scene, place this chapter on a par with Marvel's creme de la creme (and with all the anticipated, resulting humor to tip each explosive spurts), but all in all, the plot remains streamlined once it skids beyond its obligatory set-up. To embellish the aforementioned, Lorne (Megamind) Balfe's strapping score empowers the high-flying espionage with each stupendous chord. 

And of course, there's Johansson. It always swings back to her, doesn't it? As Romanoff, she's an Eric Stanton dream come true as she kicks, swats and somersaults about in her second skin (whether the suit be black or white). I could watch her for hours on end if only awarded the chance (and that's even if she wore nothing but plebeian gear). 

Despite its unjust delay, I believe Black Widow was worth the wait, and it was satisfying to see the movie up on the big screen, making this freedom-fighting chapter a reminder of what so many were so quick to abandon. Then again, those sorts wouldn't have the spine to dig Black Widow, now would they? This product is clearly chiseled for those who hold liberty high. 

Now let's hope the installment draws enough dough to deliver a Black Widow/Hawkeye sequel-prequel or at least launch a Widow counterpart from a parallel portal for Phase IV. Hey, whatever triggers more Johansson can only be beneficial. 

I saw Venom...

"Venom" was predicted a while ago: a stand-alone for Spidey’s most celebrated, Modern Age adversary and as some do claim, Marvel’s equivalent to DC’s Bane.

The Todd McFarlane/David Michelinie creation did appear in Sam Raimi’s "Spider-man 3" (per Topher Grace), but when the Tobey Maguire saga subsided, so did the chance for a rematch, let alone a separate entry. (In truth, whether either had a solid chance is still debatable.) 

For director Ruben "Zombieland" Fleischer's here-and-now version, Tom Hardy (who fashioned a complex Bane for "Dark Knight Rises") occupies the eponymous role, aka Eddie Brock: for this story's sake, an uncouth, San Francisco journalist/cable personality. 

The alien (Symbiote) entity that constitutes Eddie’s Hyde is, in fact, contained and nurtured by a mad scientist named Carlton Drake, portrayed by Riz "Rogue One" Ahmed. Drake believes he can improve human evolution by giving it a radical shove (rather like Strother Martin’s Dr. Stoner in "Sssssss", but with a twist yank straight from "The Hidden"). As Drake's (mis)fortune would have it, Brock's dogged snooping results in the correspondent's voracious transformation, though the lead-up does take some time.

For the record, Brock's venomous side doesn’t surface unless he’s endangered, springing forth like Banner’s Hulk to halt and/or kill his aggressors, tipped by a terrific tongue that would make even Gene Simmons envious. Though Brock is unsettled at first by his erratic powers, he comes to terms with such, letting the symbiotic relationship advance toward indirect and violent acts of good. He also thrives on the desperate need to survive. After all, Brock, in Venom form, is a rampant experiment, forestalling capture and yet yearning to get even with the monstrous man who made him (it?): a simultaneous Hulk/Frankenstein allusion.

Participating in the conflict is Michelle Williams as love interest, Anne Weying, who becomes She-Venom for an accidental spell. Williams projects a welcome, flirtatious warmth, which remains credible throughout the melodramatic content. 

Thanks to writers Jeff Pincher, Scott Rosenberg and Kelly Marcel, the story also spews a righteous air of pugnacious doom (similar to a "Blade" or early Seagal flick), which contrasts to the brighter (though no less conflict-ridden), Avengers-based "Spider-man: Homecoming". Even so, the buzz is that Hardy's Venom and Tom Holland's Spidey are destined to meet. Why not? They hold a Sony connection. All the same, it's more likely that a She-Venom and/or Carnage sequel (considering Woody Harrelson's creepy cameo) would come first, if "Venom" equates box-office gold.

No matter what develops, "Venom" exists as an entertaining, modern Jekyll/Hyde: a product apt to please superhero, monster and vigilante fans all in the same, slippery swoop. That makes the film a suitable entry for the Halloween season, as well. So, grab your ticket and savor the dark fun.