Outside of a few emotionally resonant moments that call back to the first film in the series, there isn’t much to like in this misfire. X-Men: Apocalypse wants so hard to be an entertaining disaster epic starring your favorite mutants, and it falls terribly short thanks to a momentum-deficient plot centered on baddie Apocalypse (a bored Oscar Isaac) who looks more like a rubber-y Power Rangers baddie than the Thanos-level threat the comics source material intended him to be. Never mind that a decade passes between these new prequels and the cast barely ages a day that is the least of this uneven sequel's problems, as its reach often exceeds its grasp with cringe-worthy results. Throw in a post-credit scene that makes Sony’s “Spider-Man movie-verse with no Spider-Man” more than just random name recognition for whoever they still have the rights to, and we’re glad this very guilty pleasure exists. Serkis makes it work, kind of, thanks to his two main actors’ seemingly giving off whatever the movie needs to work as well as a story as threadbare and set-piece dependent as this one can. By the time they all converged in a church, and Mozart started blasting, it was hard not to be won over by this movie’s commitment to, well, all this. If you think he’s going over the top, get a load of Woody Harrelson as Cletus Kassidy/Carnage, who almost makes Hardy’s performance look tame. The sequel, Venom: Let There Be Carnage, decided to commit to just one of those tones, and it chose bonkers.Īndy Serkis directed this gonzo sequel, and Hardy’s reign of craziness went to another level. We didn’t see the point of a Venom movie without Spider-Man in it, but then Tom Hardy came along and made some Choices with a capital “C.” The first Venom switched between being serious and being bonkers without ever getting the two discordant tones to shake hands. It’s what happens when IP has finally been drained of all artistry and all that remains is a husk. However, the post-credits scenes, which bring Michael Keaton’s Vulture into the Sony Spider-verse in the most ham-fisted way for the naked and poorly executed goal of setting up a Sinister Six movie, make it clear that Morbius is not a movie. Save perhaps for Matt Smith’s somewhat inspired turn as a dandy vampire baddie, this Jared Leto-led film is more pointless than it is bad. No offense to the dozens of Morbius fans out there, but who asked for this? Who wanted a movie about Morbius the Living Vampire, a C-list Spider-Man character? Of course, nobody really wanted a movie about Morbius, but due to the way superhero movies are made these days - and how Sony is scrambling to make a cinematic universe to rival the MCU using just the characters they have the rights to due to their ownership of the Spider-Man film license - we got one anyway.Īs a movie, Morbius feels like it could have been released in 2006. Using pop cultural impact and overall narrative quality as our main criteria (along with Editor’s Choice), here’s a definitive list of Marvel’s best (and worst) Hollywood adventures. It’s a deep bench of titles - 70 films - and some of them are great (think Sam Raimi’s Spider-Man 2 and X2) and others, well, not so much. 3 in theaters, let's celebrate its release by ranking every movie based on a Marvel comics property. Under his reign, Marvel became Marvel Studios and the Marvel Cinematic Universe was born, making significant box-office and movie history along the way. 3, the latest blockbuster in the Marvel Cinematic Universe, fans have spent more than 30 years watching the exploits of their favorite comic book characters kick-punch their way off the page and onto the big screen with mixed results.īefore the MCU kicked off with Iron Man’s big-screen debut, Marvel often struggled with its identity, after initially licensing its characters to a slew of studios and creatives, who did whatever they wanted with them. That all changed, as fans know, thanks to Kevin Feige. From their humble, direct-to-video beginnings (see 1989's The Punisher, starring Dolph Lundgren) to the release of Guardians of the Galaxy Vol.
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