Moviefone Editorial

Tag: daniel-espinosa

  • Movie Review: ‘Morbius’

    Dr. Michael Morbius (Jared Leto) in Columbia Pictures' 'Morbius.'
    Dr. Michael Morbius (Jared Leto) in Columbia Pictures’ ‘Morbius.’ Photo by Jay Maidment. Copyright: © 2021 CTMG, Inc. All Rights Reserved.

    Opening in theaters on April 1st is the new superhero movie ‘Morbius,’ which is based on the classic vampire character from Marvel Comics. It’s the third film in Sony’s Spider-Man Universe following ‘Venom,’ and ‘Venom: Let There Be Carnage.’

    Directed by Daniel Espinosa (‘Safe House’), the movie stars Jared Leto (‘House of Gucci’) as Dr. Michael Morbius, who suffers from a rare blood disease and experiments with a dangerous cure that afflicts him with a form of vampirism.

    In addition to Leto, the cast also includes Matt Smith (‘Terminator Genisys’), Adria Arjona (‘Triple Frontier’), Jared Harris (‘Sherlock Holmes: A Game of Shadows’), Tyrese Gibson (‘F9’), and Michael Keaton (‘Batman’) reprising his role as Adrian Toomes/Vulture from ‘Spider-Man: Homecoming.’

    The result is a somewhat incoherent film that has no real purpose (other than to set up possible sequels) and feels like it was made in the 1990s. However, as a fan of Marvel, I did find some of the characters and stylized action sequences interesting, but ultimately, it was not enough to make me recommend this movie.

    'Jared Leto as Dr. Michael Morbius
    Jared Leto as Dr. Michael Morbius in Columbia Pictures’ ‘Morbius.’ Photo by Jay Maidment. Copyright: © 2021 CTMG, Inc. All Rights Reserved.

    The film begins by introducing us to Dr. Michael Morbius (Leto), who suffers from a rare blood disease and is desperately seeking a cure, which he thinks he has found from studying bats. On the verge of finding a cure oversees, we flashback to Michael’s childhood growing up in a group home where he was raised by Nicholas Morbius (Harris), along with his surrogate brother Milo (Smith), who also suffers from a similar disease. Michael dedicates himself to his studies and vows to one day find a cure and save both himself and Milo.

    We then cut back to present day where Morbius and his fiancée Dr. Martine Bancroft (Arjona) decide to experiment with what Michael thinks could be the cure. Michael takes it, but then begins to transform into a vampire. He is not vulnerable to light but does need blood to survive.

    After several mysterious deaths where the victims have been drained of their blood, FBI agent Simon Stroud (Gibson) begins to suspect Morbius. Afraid of what he’s becoming, Michael refuses to share the “cure” with Milo, which the latter is not happy about. But, is Michael the real killer? Or is it someone else? Now, Morbius must discover the truth for himself, while protecting Martine and finding a way to stop himself from becoming a monster.

    With nods in the film to several different Spider-Man movies from the past, fans weren’t sure what “universe” this movie was going to take place in. Without spoiling anything, I think I can safely say that ‘Morbius’ takes place in the ‘Venom’ universe, which actually makes a lot of sense. The film is aesthetically very similar to ‘Venom,’ and certainly shares the same DNA in addition to the same universe.

    Matt Smith in 'Morbius'
    Milo (Matt Smith) in Columbia Pictures’ MORBIUS. Photo by Jay Maidment. Copyright: © 2021 CTMG, Inc. All Rights Reserved.

    Like ‘Venom’ and its sequel, ‘Morbius’ seems like an older movie, something we would have seen in the late 90’s or when Sam Raimi was making his ‘Spider-Man’ movies. It’s rough, crude at times, and doesn’t fit into the slick and fun Marvel movies we expect in 2022, especially after the brilliant ‘Spider-Man: No Way Home.’

    Although, there is a connection to the MCU in ‘Morbius,’ that is revealed by a not so secret cameo in the movie’s two end credit scenes. Without giving too much away, I will just say that the scene allows an MCU character to now exist in Sony’s Spider-Man Universe. While the explanation doesn’t make a whole lot of sense, even in a world of multiverses, I do appreciate the addition of this legendary actor and his strong character and look forward to whatever new Sinister Six iteration they are clearly planning.

    Digging into the problems with the screenplay written by Matt Sazama and Burk Sharpless, the relationship between Michael and Milo, which is central to the film, needed to be explained better. Yes, they were surrogate brothers and best friends, but there seemed to be something else at the core of their relationship, whether intentional or not. Were they lovers? Is that why Milo seems so jealous of Michael and Martine’s relationship? There was definitely something there, but it never gets explored, which is disappointing. If that is the case, making that clearer would have brought higher stakes to all of Milo’s actions.

    Also unclear is what happens to Adria Arjona’s character at the end. I don’t want to give anything away, but let’s just say “something” happens to Martine at the end of the movie that is never explained or visited again. I thought it was being left open for a twist in the final fight sequence, or possibly an end credit scene, but sadly it wasn’t and any questions you have about the character will have to wait for the inevitable sequel.

    Director Daniel Espinosa with Jared Leto on set of 'Morbius'
    Director Daniel Espinosa with Jared Leto on the set of Columbia Pictures’ ‘Morbius.’ Photo by Jay Maidment. Copyright: © 2021 CTMG, Inc. All Rights Reserved.

    I also feel that the quick pacing and editing of the film was somewhat sloppy and led to the movie being incoherent. There were too many flashbacks that interrupted the main story and were ultimately only added for exposition and character set up.

    But there are some elements of the film that I enjoyed. The superhero aspects of the story worked, even if Morbius was a villain and not a hero in the comics. Jared Leto gives a strong and dedicated performance as Michael Morbius, which is worth watching even if he plays him differently from the source material. Leto’s Morbius cares about human beings and refuses to take a life, which is in stark contrast to how the Spider-Man villain is normally depicted. Director Daniel Espinosa also chose some really cool effects to demonstrate Morbius’ vampire-like abilities.

    In the end, Leto’s commanding performance, the character, and the superhero genre are not enough to save ‘Morbius’ from being a disappointing Marvel movie. With a weak script, bad dialogue, silly supporting characters, and lack of strong pacing and tone, ‘Morbius’ is a cinematic mess and the type of movie that only hardcore Marvel fans will understand and enjoy.

    ‘Morbius’ receives 2 out or 5 stars.

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  • Final ‘Morbius’ Trailer is Full of Action

    Jared Leto
    Jared Leto in Columbia Pictures’ ‘Morbius.’

    Even accounting for pandemic delays and other schedule quirks, it’s really beginning to feel like Jared Leto is in a big prosthetics phase. Between ‘House of Gucci’, upcoming TV series ‘WeCrashed’ and ‘Morbius’, he’s up for changing his appearance in big way. And talking of the living vampire, the final trailer for the Sony/Marvel film is now online.

    Leto here is Dr. Michael Morbius. Dangerously ill with a rare blood disorder and determined to save others suffering his same fate, the troubled medic attempts a desperate gamble. While at first it seems to be a radical success, a darkness inside him is unleashed. Will good override evil – or will Morbius succumb to his mysterious new urges?

    And to put it more specifically, his research into far flung blood possibilities and natural cures brings him into contact with vampirism, leading to a shocking transformation. Soon, he’s gifted with enhanced speed and strength (plus a variety of other abilities, including a version of sonar and flight, after a fashion) but cursed with a driving desire to hunt down and consume blood.

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    Created by Roy Thomas and Gil Kane and first arriving in the pages of “The Amazing Spider-Man” in 1971, Morbius was considered as a potential character when Artisan bought the rights to several Marvel titles as possible movies, but nothing came of it.

    With Sony taking on the character, it has been in development for a while, but finally came to fruition under director Daniel Espinosa (‘Life’), alongside writers Matt Sazama and Burk Sharpless.

    Though Sony has largely kept its non-MCU Marvel movies away from direct connections with the Disney side of things, we’re increasingly seeing connections – Michael Keaton’s Adrian Toomes, AKA Spider-Man: Homecoming’s Vulture, who here appears to be encouraging Morbius to become who he’s supposed to be. Which, we can only assume, means a villain.

    Likewise, Matt Smith’s Loxias Crown (another character drawn from the pages of Marvel’s comics output), a vampire-linked baddie who wants Morbius to join his crusade against us more normal, living folk.

    Also in the cast is Jared Harris, playing Emil Nikols, another character from the Morbius comics, who appears to be on exposition duty here.

    Jared Leto and Adria Arjona at table
    (L to R) Jared Leto and Adria Arjona in Columbia Pictures’ ‘Morbius.’

    Adria Arjona is Martin Bancroft, also linked to Morbius, while Tyrese Gibson and Al Madrigal are more on the comic relief front at times, as the law enforcement types tracking Morbius’ activity.

    And there are clear links to ‘Venom’, Sony looking to build out its own corner of Marvel adaptations. The biggest question here is whether ‘Morbius’ will pull off the same trick – bringing the character to screens while overcoming potentially negative critical reactions to find an audience willing to embrace a wilder side of Marvel.

    The various pandemic-related release shifts haven’t helped assuage those concerns, and questions arose as to why Sony didn’t move the movie back closer to ‘Spider-Man: No Way Home’ to coast off the success of that release.

    Still, with claws crossed, the movie will be vamping its way into theaters from April 1.

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  • The ‘Life’ Writers Talk About the Movie’s Shocking Twist

    If you saw “Life” this weekend (and if you didn’t, well, you should), you know that the movie has some pretty big twists. In fact, it’s bookended with them. And we’re going to talk about them. So if you haven’t seen the movie, then shoo. We got this.

    Seriously, if you haven’t seen the movie please don’t read this. Come back afterwards; it’ll still be here.

    All right, so the movie opens with the crew of an international space station uncovering some Martian soil, which produces an honest-to-goodness Martian. Earth is alerted, everyone rejoices. Except that this Martian isn’t as cute and cuddly as it seems, and pretty soon it’s growing at an exponential rate and murdering crewmembers. You know, that old killer-space-beast chestnut.

    The shocking thing is who goes first, though. It’s Ryan Reynolds, a person so unnaturally handsome that you assume he’s going to make it until the end credits. (Maybe that “and Ryan Reynolds” distinction on the poster gave it away, though.) When we talked to director Daniel Espinosa about the twist, he said it was one of the things that drew him to the project, and referred to Reynolds’s death as his “Janet Leigh moment,” referencing the shocking death at the beginning of Alfred Hitchcock‘s “Psycho.”

    When I talked to the writers (Rhett Reese and Paul Wernick) about the movie, just before its world premiere at SXSW, I had to ask them about what it was like murdering Reynolds so early.

    “We tell people Ryan’s our muse,” Wernick said, sweetly. “We always have him in mind when we’re conceiving and writing projects, and it’s so great to continue our partnership with Ryan, which has lasted since 2009. We’ve worked hand-in-hand as one creative voice.” Reese then piped in: “They say kill your darlings. Well, we killed our darling.” There was a pause and Wernick added, “We can’t kill Ryan as Deadpool because he’s un-killable, but we can sure kill him in ‘Life.’”

    Sorry, Ryan. 🙁

  • Jake Gyllenhaal Reteams With ‘Life’ Director for ‘The Anarchists vs ISIS’

    Jake GyllenhaalJake Gyllenhaal as an anarchist freedom fighter? We can see it.

    The actor will star in “The Anarchists vs ISIS,” a true story about a ragtag team of volunteers and outcasts who fight against the terrorist organization in Syria, Variety reports.

    The project is based on a Rolling Stone article by Seth Harp published last month entitled “The Anarchists vs. The Islamic State.”

    The article focuses on Brace Beldeon, 27, who tweets from the front lines in Syria to his 31,000 followers under the handle PissPigGranddad. It cites the most famous image of him as “crouched in his YPG uniform, wearing thick Buddy Holly glasses, a cigarette dangling from the corner of his mouth, a stray puppy in one hand and a sniper rifle in the other.”

    The project reteams Gyllenhaal with Daniel Espinosa, who just directed him in the sci-fi thriller “Life.”

    Producer Riva Marker tells Variety, “Jake and I are thrilled to partner with Daniel Espinosa on Seth Harp’s daring story. Thematically, we’re often attracted to material about the search for identity, especially in a world where it’s become easier to feel less and less connected. Seth’s story is about people who abandon everything that’s familiar as a means to connect in the most brutal of circumstances. Daniel is wonderfully collaborative and so passionate about this material. We are eager to start working with a screenwriter together.”

    Gyllenhaal previously went to war in “Jarhead,” also based on a true story, in which he played a Marine sniper during the Gulf War.

  • ‘Life’ Director Daniel Espinosa Won’t Tell Us Where the ‘Alien’ Easter Eggs Are

    I talked to director Daniel Espinosa the morning before his brand-new sci-fi thriller, “Life,” had its world premiere in front of an audience at the SXSW Festival. (One of the greatest film festivals in the world, by the way.)

    He said watching the film, in that setting, with an audience, would leave him a ball of “anxiety.” “It’s like a personal experience for me to sit there with other people. I’m sitting there going, Is this a good silence? Is this a bad silence?” I asked him what his ideal reaction would be. “It’s quite nice when people miss five minutes of the movie because they can’t look,” he said.

    And while I wasn’t at the screening, I’m sure that people missed five minutes of the movie because they were afraid to look. “Life” is a crackerjack sci-fi horror tale of six doomed astronauts (among them: Ryan Reynolds, Rebecca Ferguson, and Jake Gyllenhaal, who had great things to say about making the movie) who uncover a Martian life form in a soil sample and then … things go very bad.

    Espinosa is a Swedish director who made the breakout film “Easy Money,” before helming such big Hollywood productions as “Safe House” and “Child 44” and, based on our brief phone conversation, is a lovable madman. We talked about the obvious comparisons to “Alien” (and the multitude of Easter eggs he refused to divulge), how he shot the movie, and the joys of having an extremely truncated post-production schedule.

    Be advised, minor spoilers follow.

    Moviefone: “Life” obviously fits very literally into the monster-on-a-space-ship genre. Was that something that you’d always wanted to do?

    Daniel Espinosa: Well, the whole idea of moving into science fiction, when you work in Sweden it is such an absurd idea. So it was more that I adored many of those movies but I never thought it would be possible. But when I got the script it hit me that it had such a great turn towards the end and had such a great surprise in the beginning, which I thought were a little bit unusual. I got to have my own Janet Leigh/”Psycho” moment. And then what hit me was the realism that it had. Those two turns and the realism differentiated it from the obvious comparison, which is “Alien.” “Alien” took place in the future in this dystopian future, which is what we feared the most in the 1970s because of the atomic era, but I think the greatest fear right now is what happens tomorrow. I liked to pursue that.

    Were there any references you snuck in to “Alien” or any of those earlier movies?

    Oh my god, there’s tons! It’s littered with it! But that’s a fun game. If you made a science fiction movie wouldn’t you fill it with numbers, with what people are saying, with writings on the wall, with shapes? That’s what makes it so fun, making one of these movies. I don’t know about you, but I’ve watched “The Shining,” for example, so many times, looking at the numbers on the door and thinking about what they mean.

    Yeah, I mean, they made a whole documentary about the things hidden in “The Shining.” Maybe they’ll do that for “Life.”

    Yes!

    Can you tell us one really good, hidden Easter egg?

    I can’t because it’s hidden, man! You’ve got to find it yourself! That’s the fun of it. I can say this: Look at the walls.

    Was part of the appeal for you how streamlined the movie is?

    Yes, I loved that it had such forceful energy to it, which I think is quite nice. The pauses become moments like small breaths. But what I loved was — the combination of that energy usually leads to a cute Hollywood ending, but what I liked was that it was more like a zombie movie with a more noir ending, or a “Twilight Zone” ending.

    Can you talk about your approach to the film’s visuals?

    I looked a lot into still photography from the first voyage to the moon, which was shot with this Hasselblad big format. So what we decided to do was get these Hasselblad lenses and re-house them for the 65 mm Alexa [digital camera] to get the same kind of feeling. Those old Hasselblad lenses have this very particular kind of flair, which was actually the first encounter we, as human beings, had of how images looked in space. I thought if I’m going to do it naturalistic it would be nice to tap into the core essence of the first images that we saw as space images.

    The movie has such a wonderful combination of awe and terror. Was that something that you were going for?

    Oh, completely. We wanted to create a vignette around these characters that became stronger and stronger throughout the picture. I worked with this color grader who had done “The Revenant” and “Gravity,” and us three together could work on this bright movie to become darker and darker and walk into this almost Kubrickian red.

    This movie is pretty quick. Was there anything that you cut for time or pacing that you wish was still in the movie?

    No, I was quite lucky because we were supposed to have a six month post-production period, but we got so squeezed because Ridley Scott kept moving [“Alien: Covenant“] closer and closer to mine and I had to back off … the quickness of the post-production meant that the influences that usually drop down on you weren’t as strong as normal. We were pretty much able to do the movie the way we wanted to.

    “Life” opens in our galaxy this Friday.

  • Mel Gibson Confirms Talks to Direct ‘Suicide Squad 2’

    89th Annual Academy Awards Nominee Luncheon - ArrivalsThe upcoming sequel to “Suicide Squad” may have landed a high-profile director: Mel Gibson has confirmed he’s in talks with Warner Bros. to helm “Suicide Squad 2.”

    Gibson responded to a series of reports stating that he was being courted for the job while appearing at a screening of his latest film, Best Picture nominee “Hacksaw Ridge,” in Santa Monica on Wednesday night. When asked during a Q&A whether the situation was “getting close to a deal, or is it a first date?” the director replied, “It’s kind of a first date.”

    News first broke on Wednesday that Gibson was among a handful of candidates Warner Bros. had been circling for the gig, with Deadline reporting that the actor-turned-director has had “conversations” with the studio about possibly directing the follow-up. The trade cautioned that things were still in the early stages, something several other trades also reported later in the day on Wednesday.

    Here’s what The Hollywood Reporter had to say about the news:

    No official offer has been made nor has any commitment.

    Sources say that Gibson is familiarizing himself with the material. But the studio is not being passive and is also looking at other directors, Daniel Espinosa [“Safe House”] among them.

    According to Variety, other candidates Warner Bros. is considering for the job are Ruben Fleischer (“Zombieland”) and Jonathan Levine (“Warm Bodies”). Reporter Justin Kroll later tweeted that Gibson is the studio’s first pick (“if Mel wants it, it’s his,” Kroll wrote), and that Gibson has been wanting to work with “Suicide Squad” star Will Smith for years, going back to early development of the 2016 WB flick “The Accountant.” (That film ultimately featured the pairing of star Ben Affleck and director Gavin O’Connor.)

    It’s too early to say whether or not Gibson will take the gig, though he’d certainly be an intriguing — and unlikely — choice. Stay tuned to see how this shakes out.

    [via: YouTube, Deadline, The Hollywood Reporter, Variety, Justin Kroll, h/t ComicBook.com]