At the end of the 1998 superhero movie leaf, Wesley Snipes’ Daywalker chooses to retain his abilities to fight the undead instead of denying the opportunity to heal his vampires. In another version of this scene, which appears regularly in online pirates, the film reveals Blade’s next goal. In the distance, on the rooftop, stands a figure whose fate is clear to the living vampire Morbius. (Because there are no lines and no close-ups leaf Director Stephen Norrington.) The studio was eventually reluctant to include Morbius. Blade IIDue to legal issues surrounding the character.
Twenty-four years after Morbius was unconsciously deleted from the first blockbuster film based on a Marvel superhero, Morbius reappeared in a dramatically altered cinematic landscape. 2022 Ain’t Like 1998: Today, one of the few solid bets left at the box office is a movie starring a Marvel Comics hero. diseaseThe box office success was strong, but overshadowed by the harshest Marvel-related superhero movie reviews since 2015. fantastic poAnd not by a very popular MCU, but by the general figures that are part of the fire sales of Sony’s Spider-Man related characters.
Morbius’s move from villain to main anti-hero feels like a relegation. Without Spider-Man, he’s just another unsuitable monster that lacks teeth. In that sense, both are correct. disease It’s pretty mundane and shameful because it’s an opportunity to diversify the possibilities of a superhero movie when the Marvel characters are set in a studio other than Disney.
disease, one of the last remnants of an era when rights to Marvel assets were scattered across multiple studios and unlikely to be consolidated under a single umbrella, along with the more famous but still obscure brand of Venom films. With many of these characters rejoined into the MCU, general fan reaction to the film is mediocre: disease The thing is, the Marvel characters do better in movies under the direction of Kevin Feige. And filmmakers often seem to agree tacitly. This is the only recognizable reason for a couple who are completely outrageous. disease A scene mid-credits that makes a ridiculous connection with the other, more popular Spider-Verse.
This desire to bring some tricky characters back to the MCU is a mistake. Especially when it comes to Marvel’s super monsters. This delightfully filthy and horror-influenced material deserves its place in superhero movies, preferably outside the established comfort zones of the MCU. In its rarest form, disease Reminds me of a darker side story wrong road driver or leaf like a hero movie Captain America: Civil War, often more concerned with maintaining the universe than building fascinating little secondary worlds. Horror-influenced superhero aliens do not benefit from a previously established universe full of fantastic events. And although not often associated in the MCU, a mix of horror and superheroes, heroes were the backbone of early Marvel Comics hit character monsters. Monsters like Hulk and Thing, and Groot and Finn Fang Boom.
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Image: Sony Pictures
same movie leaf It may seem outdated now, as Marvel is promising an integrated MCU version starring Oscar-winner Mahershala Ali. However, the same 1998 film that rejected Morbius’ planned debut helped cement Marvel Comics on the big screen by becoming the company’s first real-world hit and inspiring two sequels. . ). I saw the blade again today This trilogy looks like a hot shot from former horror/action paradise New Line Cinema (now an exclusive subsidiary of Warner Bros.) and credit sequence design studio Imaginary Forces, which has rare production credits for all three films. That means lots of fire, techno soundtrack collaborations, and cool fonts. In other words, it has more in common that it is a one-time use of image comics. eggFirst since 1997 X-Men Movie (mid-release) leaf And Blade II).
This has obvious limitations, but stylistic freedom is evident throughout. leaf trilogy. Norrington brings an elegant Eurotrashiness to his first film, but when Guillermo del Toro intervenes to direct the sequel, Blade II, turned in the direction of the more crafty monster horror. David S. Goyer, screenwriter and director of the three films, is having a bit more trouble stamping the material, but at least Blade Trinity Here are some cool ideas and they don’t look the same as their predecessors.
All three films deal with the thick, dark side of the comics. It’s an extension of Tim Burton’s version of Batman, not Richard Donner’s much-loved version of Superman. Most MCU movies seem to set stones in the Blade movies, borrowing from cartoons, monster movies, music videos, and the pursuit of youth cultural trends clearly rooted in a specific time period. (For example, Jessica Biel is listening to Fluke on her iPod. Blade Trinity.) and not just R-Rated. leaf The movie is really more mature because it has blood-splattering effects, pop songs and gutter jokes. It is only closer to the dry and harmful image of the comics that developed under the influence of the Universal Monsters and the heyday of EC Comics.
This universal monster has been difficult to modernize, especially as the studio sought to develop its own Marvel-inspired and interconnected series of Dark Universe films. dark universe failure Mummy The Dark Universe idea was generally appealing, but the company was a perfect example of the awkwardness that arises when a studio imposes unruly scary ideas into its business plans. (Universal succumbed and switched to a filmmaker-centric approach. The Invisible Man Create a new one.)
Meanwhile, Sony has been smuggling Universal Monsters since the 1990s, producing the unofficial Dracula/Frankenstein/Wolf Man trilogy. The chilling Morbius/Venom Sony phrase returns to this bet and a studio shortcut is added. wrong road driver Franchise that ended in 2011 Ghost Rider: Spirit of Vengeance. like poison And diseaseThe Ghost Rider movie is about an eccentric movie star (Nicolas Cage, who can still outperform Tom Hardy), who pulls out a CG-enhanced monster inside, despite being a studio that doesn’t want to give it an R rating.
Despite the limitations of a movie designed for a teen-friendly rating, Ghost Rider has a crazy passion that’s best left to his own strange world. more evident in spirit of revenge2007 Directed by Mark Stephen Johnson, directed by the duo Marc Neveldyne and Brian Taylor wrong road driver. Filmed in Eastern Europe with a smaller budget than the previous work, spirit of revenge is a constantly moving film, and while it’s not made with top-notch special effects, there’s something oddly compelling about the way characters fly through the air or turn trucks into flaming hell-mobiles.
Image: Sony Pictures
In general, like Cage, he pursues expressive performances rather than boring seriousness. A scene where the camera freezes Cage’s face as it twists the Ghost Rider’s skull head, grimaces and giggles – Cage preview superhero depicting a rider screaming “scratch the door”: of heroic grandeur and its magnificence Comedy abalone. Cage’s transformation into a Ghost Rider is physically fickle, out of control, and comically biting. It really does look like you’re from another world. of these moments spirit of revenge Have fun and a true fanatic of the vintage Sam Raimi.
Raimi own spare productSpiderman superhero movie dark man This includes a grotesque relationship with superheroes, which is an important way to differentiate monster superheroes from the glamorous sitcom mods of many current heroes. Raimi’s Spider-Man films are relatively clean, but his affinity for both approaches to superheroes makes sense. Many Spider-Man nemes are spawned due to the more sinister versions of the thinking that created Spidey or Hulk. There are traces of Dr. Frankenstein and Dr. Jekyll in the DNA of some superheroes, and it is natural to use these connections to explore human pride, bizarreness, and weakness.
There are traces of Frankenstein and Dracula. disease If not enough movies. Sony Spider-Man spin-off disease And poison It’s disappointing because they’re so immersed in superheroes that people who try to be villains turn into antiheroes in 20-30 minutes of screen time. (Unless, of course, the post-credit teaser for the upcoming movie calls for a complete reversal of this issue). The film’s style hasn’t come close to the impressive CG monster design yet. That said, while Venom is visually appealing, the character is poison This movie looks like a 2005 superhero movie. disease It has a heavier nocturnal texture than many MCU films, but lacks elasticity. spirit of revenge or hardness Blade II. Even with a few neat buds, it’s semi-precautionary. Also the so-called delusion Poison: Let the carnage happen It feels more crude than the real wild.
The idea seems persuasive while at the same time allowing Sony to continue renting valuable Marvel estates by being invited to join the respected family of superheroes if this new film behaves mediocre enough and confines its wacky to celebrity stars. corps. MCU fans who love movies disease obligatory Instead, the desire to create a unique edge for MCUs makes them second-class by comparison. For superhero movies, it’s good to have certain characters away from the MCU. This forces Marvel Studios to keep digging through the archives and finding characters to resurrect instead of rebooting Spider-Man. And it allows other studios to create superhero movies that don’t have to track down a vast, interconnected empire with tons of creative choices. Morbius was able to join the elite Marvel Horror Club. His inability to adapt to his MCU there could be a stepping stone to something weirder, scarier, more cinematic. Instead, these Sony Marvels keep scratching the wrong door.
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There’s so much untapped horror potential in super-monster movies
At the end of the 1998 superhero movie Blade, Wesley Snipes’ day-walker turns down a chance to be cured of his vampirism, choosing instead to retain his powers for his fight against the undead. In an alternate version of this scene that periodically resurfaces in online bootlegs, the film unveils Blade’s next target. On a distant rooftop stands a figure clearly destined to be Morbius, the Living Vampire. (It has no lines and no close-ups, so it is played by Blade director Stephen Norrington.) The studio ultimately balked at including Morbius in Blade IIdue to rights issues surrounding the character.
Twenty-four years after Morbius was unceremoniously cut from the very first blockbuster movie based on a Marvel superhero, he has reappeared in a dramatically changed cinematic landscape. 2022 isn’t like 1998: Today, one of the only sure bets left at the box office is a movie starring a Marvel Comics hero. MorbiusThe box office take was strong, but it was also overshadowed by some of the most scathing Marvel-related superhero movie reviews since 2015. The Fantastic Fourand by the general ignominy of being part of Sony’s fire-selling of Spider-Man-adjacent characters, rather than the ultra-popular MCU.
Morbius’ move from villain to main antihero feels like a demotion. Without Spider-Man, he’s just another misfit monster without enough teeth. It is both right, in this sense Morbius is pretty mediocre, and a shame, in that having errant Marvel characters set in another non-Disney studio is an opportunity to diversify what superhero movies can do.
Related
The Shard of the Blade by Wesley Snipes
Morbius, along with the more popular but still vaguely off-brand Venom movies, is one of the last remnants of an era where the rights to Marvel properties were scattered among various studios, very unlikely to be united under a single umbrella. Now that so many of these characters have been reassembled in the MCU, the usual fan response to a movie as mundane as Morbius is that Marvel characters are better off in films under the supervision of Kevin Feige – and the filmmakers often seem to tacitly agree. This is the only discernible reason for the completely absurd pair of Morbius mid-credits scenes, which forge a ridiculous connection to another more beloved spider-verse.
This desire to force a few finicky characters back into the MCU is a mistake, especially when it comes to Marvel’s super-monsters. Pleasantly disreputable horror-influenced material deserves its own space in superhero cinema, preferably outside of the MCU’s well-established comfort zone. At its rare best, Morbius more reminiscent of darker side stories like ghost rider or Blade than hero movies like Captain America: Civil War, who are often more concerned with in-universe maintenance than establishing fascinating little secondary worlds. The horror-influenced superhero alien doesn’t benefit from a previously established universe full of fantastical happenings – and while they’re not often associated in the MCU, the synthesis of horror and superheroes -heroes were the backbone of early Marvel Comics hits, featuring character-monsters like the Hulk and the Thing, and monster-monsters like Groot and Fin Fang Foom.
Picture: Sony Pictures
A movie like Blade may seem old-fashioned now, especially since Marvel is promising an MCU-integrated version starring Oscar winner Mahershala Ali. But that 1998 movie — the same one that denied Morbius his planned debut — helped make inroads for Marvel Comics on the big screen by becoming the company’s first real hit and inspiring two sequels (though most viewers didn’t know about Blade’s comic-book roots). Revisited today, the Blade The trilogy looks like an obvious product of former horror/action haven New Line Cinema (now an exclusive subsidiary of Warner Bros.) and hotshots from credit sequence design studio Imaginary Forces, which has a rare production credit on all three films. That means lots of fire, techno soundtrack collaborations, and cool fonts. In other words, they have more in common with the Image Comics one-off. Spawnfrom 1997, that the first x-men movie (released halfway between Blade and Blade II).
This has obvious limitations, but there is stylistic freedom displayed throughout the Blade trilogy. Norrington gives the first movie a sleek Eurotrashiness, but when Guillermo del Toro stepped in to direct the sequel, Blade II, it swerved in a more ornate monster horror direction. David S. Goyer, screenwriter of the three and director of the third, has a little more trouble putting his stamp on the material, but at the very least, Blade Trinity has some cool ideas and doesn’t look identical to its predecessors.
All three movies tap into the pulpy, sinister side of comics – an extension of Tim Burton’s take on Batman, rather than Richard Donner’s much-loved take on Superman. Most MCU movies seem set in stone from the Blade movies, which also borrow from comic books, monster movies, music videos, and the hunt for youth culture trends obviously rooted in a particular time period. (For example, Jessica Biel listening to Fluke on her iPod while BladeTrinity.) It’s not just the R-rated Blade the films are truly more adult for having blood-splattered effects, pop songs, and gutter banter. They’re just closer to the distasteful and corrupting image that comics developed during the heyday of EC Comics and the influence of Universal Monsters.
These universal monsters proved difficult to modernize, especially when the studio tried to take inspiration from Marvel and develop its own series of interconnected Dark Universe movies. The Dark Universe Flop The Mummy and the idea of the Dark Universe in general had their charms, but the venture was a perfect illustration of the awkwardness that happens when studios force unruly horror ideas into a business plan. (Universal relented and moved to a more filmmaker-centric approach with the Invisible Man remake.)
Sony, meanwhile, has dabbled in smuggling Universal Monsters since the 1990s, when the company made an unofficial Dracula/Frankenstein/Wolf Man trilogy. Half-ass Morbius/Venom Sony verse returns to this bet, plus studio abbreviation ghost rider franchise, which stopped with the years 2011 Ghost Rider: Spirit of Vengeance. To like Venom and Morbiusthe Ghost Rider movies are about an eccentric movie star (Nicolas Cage, still able to outplay Tom Hardy) exteriorizing a CG-augmented monster inside, albeit for a studio that doesn’t want to let that beast get its way in an R rating.
Even with the limitations of movies designed for teen-friendly ratings, there’s a mad zeal to Ghost Rider that’s best left to its own weird world. It is more evident in spirit of revengeby director duo Mark Neveldine and Brian Taylor, than in Mark Steven Johnson’s 2007 original ghost rider. Shot in Eastern Europe on a lower budget than its predecessor, spirit of revenge is a movie in constant motion, and while it wasn’t made with top-notch special effects, there’s something oddly compelling about the way its characters soar through the air or turn trucks into fiery hellmobiles.
Picture: Sony Pictures
Like Cage in general, he aims for a more expressive form of performance than tedious respectability. A scene where the camera locks onto Cage’s face as she contorts into Ghost Rider’s skull head, grimacing and snickering alternately – previewed by Cage yelling at how the Rider “scratches at the door”, eager to be freed – ignores the two dominant modes of modern superhero depictions: heroic grandeur and comic undermining of that grandeur. Cage’s transformation into Ghost Rider is physically jerky, out of control, and comically biting; it really looks like something from another world. These moments of spirit of revenge have a joyful and sincere mania for vintage Sam Raimi.
Raimi’s self-generated pre-productsSpider Man super hero movie dark man also includes the kinship between superheroes and the grotesque, which is a crucial way to distinguish monster superheroes from the charming sitcom mode of so many current heroes. Although Raimi’s Spider-Man films are relatively clean, his affinity for both approaches to superheroes makes sense: so many Spider-Man nemeses are spawned by more sinister versions of the accidents that created Spidey or Hulk. It’s only natural that some superheroes have traces of Doctors Frankenstein and Jekyll in their DNA and use those connections to explore the pride, monstrosity, and frailty of humanity.
There are traces of Frankenstein and Dracula in the Morbius film, if not enough. Offshoots of Sony’s Spider-Man Morbius and Venom were disappointing because they feel so beholden to superheroes, with potential villains turned into antiheroes within 20 or 30 minutes of screen time. (Unless, of course, post-credit teasers for upcoming films demand a complete reversal of this arc). The style of these films has yet to live up to their formidable CG monster designs; in other words, Venom the character is visually arresting, but Venom the movie looks like a 2005 superhero movie. Morbius has a stronger nocturnal texture than many MCU films, but it lacks elasticity spirit of revenge or the harshness of Blade II. Even with a few neat flourishes, it’s half too cautious. Even the so-called delusionals Venom: let there be carnage feels more sloppy than truly wild.
The idea seems to be that if these new movies act normal enough and limit their eccentricities to their well-known stars, they might earn an invite into the respectable superhero fold, allowing Sony to continue renting valuable Marvel real estate while by convincing a legion. MCU fans that movies love Morbius are mandatory. Instead, the desire to create their own corner of the MCU only makes them seem second-rate in comparison. It’s better for superhero movies if certain characters stay away from the MCU; this forces Marvel Studios to keep digging through their archives and finding characters to revitalize, rather than Spider-Men to reboot. And it allows other studios to make superhero movies that don’t have to keep a vast, interconnected empire in mind with so many creative decisions. Morbius could have joined an elite Marvel Horror club, where his inability to fit in with the MCU could have been a stepping stone to something weirder, scarier, or more cinematic. Instead, these Sony Marvels keep scratching at the wrong door.
#untapped #horror #potential #supermonster #movies
There’s so much untapped horror potential in super-monster movies
At the end of the 1998 superhero movie Blade, Wesley Snipes’ day-walker turns down a chance to be cured of his vampirism, choosing instead to retain his powers for his fight against the undead. In an alternate version of this scene that periodically resurfaces in online bootlegs, the film unveils Blade’s next target. On a distant rooftop stands a figure clearly destined to be Morbius, the Living Vampire. (It has no lines and no close-ups, so it is played by Blade director Stephen Norrington.) The studio ultimately balked at including Morbius in Blade IIdue to rights issues surrounding the character.
Twenty-four years after Morbius was unceremoniously cut from the very first blockbuster movie based on a Marvel superhero, he has reappeared in a dramatically changed cinematic landscape. 2022 isn’t like 1998: Today, one of the only sure bets left at the box office is a movie starring a Marvel Comics hero. MorbiusThe box office take was strong, but it was also overshadowed by some of the most scathing Marvel-related superhero movie reviews since 2015. The Fantastic Fourand by the general ignominy of being part of Sony’s fire-selling of Spider-Man-adjacent characters, rather than the ultra-popular MCU.
Morbius’ move from villain to main antihero feels like a demotion. Without Spider-Man, he’s just another misfit monster without enough teeth. It is both right, in this sense Morbius is pretty mediocre, and a shame, in that having errant Marvel characters set in another non-Disney studio is an opportunity to diversify what superhero movies can do.
Related
The Shard of the Blade by Wesley Snipes
Morbius, along with the more popular but still vaguely off-brand Venom movies, is one of the last remnants of an era where the rights to Marvel properties were scattered among various studios, very unlikely to be united under a single umbrella. Now that so many of these characters have been reassembled in the MCU, the usual fan response to a movie as mundane as Morbius is that Marvel characters are better off in films under the supervision of Kevin Feige – and the filmmakers often seem to tacitly agree. This is the only discernible reason for the completely absurd pair of Morbius mid-credits scenes, which forge a ridiculous connection to another more beloved spider-verse.
This desire to force a few finicky characters back into the MCU is a mistake, especially when it comes to Marvel’s super-monsters. Pleasantly disreputable horror-influenced material deserves its own space in superhero cinema, preferably outside of the MCU’s well-established comfort zone. At its rare best, Morbius more reminiscent of darker side stories like ghost rider or Blade than hero movies like Captain America: Civil War, who are often more concerned with in-universe maintenance than establishing fascinating little secondary worlds. The horror-influenced superhero alien doesn’t benefit from a previously established universe full of fantastical happenings – and while they’re not often associated in the MCU, the synthesis of horror and superheroes -heroes were the backbone of early Marvel Comics hits, featuring character-monsters like the Hulk and the Thing, and monster-monsters like Groot and Fin Fang Foom.
Picture: Sony Pictures
A movie like Blade may seem old-fashioned now, especially since Marvel is promising an MCU-integrated version starring Oscar winner Mahershala Ali. But that 1998 movie — the same one that denied Morbius his planned debut — helped make inroads for Marvel Comics on the big screen by becoming the company’s first real hit and inspiring two sequels (though most viewers didn’t know about Blade’s comic-book roots). Revisited today, the Blade The trilogy looks like an obvious product of former horror/action haven New Line Cinema (now an exclusive subsidiary of Warner Bros.) and hotshots from credit sequence design studio Imaginary Forces, which has a rare production credit on all three films. That means lots of fire, techno soundtrack collaborations, and cool fonts. In other words, they have more in common with the Image Comics one-off. Spawnfrom 1997, that the first x-men movie (released halfway between Blade and Blade II).
This has obvious limitations, but there is stylistic freedom displayed throughout the Blade trilogy. Norrington gives the first movie a sleek Eurotrashiness, but when Guillermo del Toro stepped in to direct the sequel, Blade II, it swerved in a more ornate monster horror direction. David S. Goyer, screenwriter of the three and director of the third, has a little more trouble putting his stamp on the material, but at the very least, Blade Trinity has some cool ideas and doesn’t look identical to its predecessors.
All three movies tap into the pulpy, sinister side of comics – an extension of Tim Burton’s take on Batman, rather than Richard Donner’s much-loved take on Superman. Most MCU movies seem set in stone from the Blade movies, which also borrow from comic books, monster movies, music videos, and the hunt for youth culture trends obviously rooted in a particular time period. (For example, Jessica Biel listening to Fluke on her iPod while BladeTrinity.) It’s not just the R-rated Blade the films are truly more adult for having blood-splattered effects, pop songs, and gutter banter. They’re just closer to the distasteful and corrupting image that comics developed during the heyday of EC Comics and the influence of Universal Monsters.
These universal monsters proved difficult to modernize, especially when the studio tried to take inspiration from Marvel and develop its own series of interconnected Dark Universe movies. The Dark Universe Flop The Mummy and the idea of the Dark Universe in general had their charms, but the venture was a perfect illustration of the awkwardness that happens when studios force unruly horror ideas into a business plan. (Universal relented and moved to a more filmmaker-centric approach with the Invisible Man remake.)
Sony, meanwhile, has dabbled in smuggling Universal Monsters since the 1990s, when the company made an unofficial Dracula/Frankenstein/Wolf Man trilogy. Half-ass Morbius/Venom Sony verse returns to this bet, plus studio abbreviation ghost rider franchise, which stopped with the years 2011 Ghost Rider: Spirit of Vengeance. To like Venom and Morbiusthe Ghost Rider movies are about an eccentric movie star (Nicolas Cage, still able to outplay Tom Hardy) exteriorizing a CG-augmented monster inside, albeit for a studio that doesn’t want to let that beast get its way in an R rating.
Even with the limitations of movies designed for teen-friendly ratings, there’s a mad zeal to Ghost Rider that’s best left to its own weird world. It is more evident in spirit of revengeby director duo Mark Neveldine and Brian Taylor, than in Mark Steven Johnson’s 2007 original ghost rider. Shot in Eastern Europe on a lower budget than its predecessor, spirit of revenge is a movie in constant motion, and while it wasn’t made with top-notch special effects, there’s something oddly compelling about the way its characters soar through the air or turn trucks into fiery hellmobiles.
Picture: Sony Pictures
Like Cage in general, he aims for a more expressive form of performance than tedious respectability. A scene where the camera locks onto Cage’s face as she contorts into Ghost Rider’s skull head, grimacing and snickering alternately – previewed by Cage yelling at how the Rider “scratches at the door”, eager to be freed – ignores the two dominant modes of modern superhero depictions: heroic grandeur and comic undermining of that grandeur. Cage’s transformation into Ghost Rider is physically jerky, out of control, and comically biting; it really looks like something from another world. These moments of spirit of revenge have a joyful and sincere mania for vintage Sam Raimi.
Raimi’s self-generated pre-productsSpider Man super hero movie dark man also includes the kinship between superheroes and the grotesque, which is a crucial way to distinguish monster superheroes from the charming sitcom mode of so many current heroes. Although Raimi’s Spider-Man films are relatively clean, his affinity for both approaches to superheroes makes sense: so many Spider-Man nemeses are spawned by more sinister versions of the accidents that created Spidey or Hulk. It’s only natural that some superheroes have traces of Doctors Frankenstein and Jekyll in their DNA and use those connections to explore the pride, monstrosity, and frailty of humanity.
There are traces of Frankenstein and Dracula in the Morbius film, if not enough. Offshoots of Sony’s Spider-Man Morbius and Venom were disappointing because they feel so beholden to superheroes, with potential villains turned into antiheroes within 20 or 30 minutes of screen time. (Unless, of course, post-credit teasers for upcoming films demand a complete reversal of this arc). The style of these films has yet to live up to their formidable CG monster designs; in other words, Venom the character is visually arresting, but Venom the movie looks like a 2005 superhero movie. Morbius has a stronger nocturnal texture than many MCU films, but it lacks elasticity spirit of revenge or the harshness of Blade II. Even with a few neat flourishes, it’s half too cautious. Even the so-called delusionals Venom: let there be carnage feels more sloppy than truly wild.
The idea seems to be that if these new movies act normal enough and limit their eccentricities to their well-known stars, they might earn an invite into the respectable superhero fold, allowing Sony to continue renting valuable Marvel real estate while by convincing a legion. MCU fans that movies love Morbius are mandatory. Instead, the desire to create their own corner of the MCU only makes them seem second-rate in comparison. It’s better for superhero movies if certain characters stay away from the MCU; this forces Marvel Studios to keep digging through their archives and finding characters to revitalize, rather than Spider-Men to reboot. And it allows other studios to make superhero movies that don’t have to keep a vast, interconnected empire in mind with so many creative decisions. Morbius could have joined an elite Marvel Horror club, where his inability to fit in with the MCU could have been a stepping stone to something weirder, scarier, or more cinematic. Instead, these Sony Marvels keep scratching at the wrong door.
#untapped #horror #potential #supermonster #movies
Synthetic: Vik News
