Directed by Ruben Fleischer
Starring – Tom Hardy, Michelle Williams, Riz Ahmed
The Plot – When Eddie Brock (Hardy) acquires the powers of a symbiote, he will have to release his alter-ego “Venom” to save his life.
Rated PG-13 for intense sequences of sci-fi violence and action, and for adult language
– One of the few things that this film does right, is Eddie’s juxtaposition for power within himself against this new entity that has overtaken him. My problem with Venom’s depiction in “Spider-Man 3” is that other than Topher Grace’s initial descent into mayhem, there is no balance for power between the two sides, leaving much of the psychosis of the character unsubstantial. Thankfully, “Venom” not only aims for this intriguing angle, but masters it because of Hardy’s physical performance and witty banter with his darker side (Also voiced by Hardy) that is leaps above anyone else in the movie.
– My initial fear going into this film was that we would get two minutes of actual Venom, and the rest would be Tom Hardy moving around, but thankfully I was wrong on this prediction. For fans of the infamous comic character, there’s plenty of destruction and devastation from the symbiote that makes the effort for the film feel warranted, even when the rest of it isn’t as up to par. If you’re looking for a film that presents the character in live action form, then “Venom” might be the bite you’re looking for.
– Whether the audience wants it there or not, the banter between Hardy and Venom offers a surprisingly delightful layer of cheese that will test even the strongest of lock-jaws who want so badly to hate this film. I can say that I myself did get more than a few laughs with this film, harvesting perhaps the most enjoyment that I got from a movie that was otherwise aimlessly conventional by most accounts. If this was JUST a film about a man with voices in his head, then the interaction between the two mentioned above would almost certainly carve out a welcome mat invitation to Hardy for a future comedy, as the man has just the right balance of timing and delivery to make him appealing to anything today that passes for a comic actor.
– Offensive dialogue. “Venom” finds this median somewhere between testy mature material involved with a PG-13 rating, yet stilted by the effects of bumbling dialogue that is downright amateur for this level. Much of the conversations never feel synthetic, nor do they withstand the tonal consistency within the film that so much of this comic character is riding on. Simply put, there’s too much humor involved here, and it feels every bit as forced as it does redundantly underwhelming.
– Speaking of PG-13, it does the Venom character, as well as the boundaries of realism zero favors in this particular example. There are no fewer than fifty fatalities in the body count department of this film, but the problem is that not one drop of blood spills, nor is one instant of brutality captured without a quick-cut that renders it emotionless. If you can’t make the movie that the character rightfully deserves, then why even try? “Venom” is a watered down parasite that is constantly in search of an identity to thrive under.
– Part of the problem for me with intrigue and captivation into this movie is that it constantly feels like another film is taking place while this one is front-and-center, and we’re constantly reminded of it. It’s been reported that this movie has been a victim of the hack-and-slash experimentation on the cutting room floor, wiping away more than forty minutes from its presentation that could easily be the answers in exposition that we need. Instead, we are subject to things happening like a little girl coming into contact with the symbiote, and the mention of Eddie climbing a huge tree that never comes into play once during the film, leaving the audience scratching their heads for these moments mentioned that had me debating my memory.
– Easy way out on Venom. This one is difficult to explain without spoilers, so I will just say that there is a twist 80% of the way into this film that levels the playing field between good and evil respectively, and in doing so it feels like a betrayal to the definition of the entity. If you don’t want to craft Venom with a villainous edge, then don’t make the movie. Instead, we get a buddy comedy cut-out that for my money is every bit as offensive as Topher Grace spouting off cheesy one-liners, more than ten years ago.
– Wasted performances from a talented cast. Hardy’s physicality and conversations within himself give him just enough to be passable as Eddie Brock, but his underdeveloped backstory and misdirected vulnerability never fully capture the essence of investment needed from us the audience. Likewise, Riz Ahmed’s antagonist is every mid 90’s superhero villain, before anyone knew how to make one of these movies. He whispers when he speaks, he does his evil deeds behind the walls of an evil corporation, and he gets erect at the thought of world domination. He’s a walking, talking cliche that might be Hardy’s biggest argument for more screen time. Michelle Williams? Don’t get me started. Behind one of the worst wigs I’ve ever seen, as well as being reduced to nothing more than the hero’s eye candy, this Oscar nominated actress feels like she has more than served her community service time, between this and early 2018 sludge “I Feel Pretty”.
– Awful effects work. In the trailers, this aspect stood out like a sore thumb, but when expanded over 91 minutes of screen time, it’s more like a boner in sweat pants. How could computer animation be this bad in 2018? Uninspired facial distorts that feel like Hardy’s character stood in front of a projector, motorcycle chase sequences with Apple 95 cut-and-paste facial renderings, and a clunky design for the symbiote that feels so weightless in movements and vibrations that you could almost see mouse pad used to move it. You may like or hate “Venom” all the same, but you in no way can give a pass to effects that are one step above The Lawnmower Man in terms of artistic layers.
– But wait, there’s a mid-credits scene. Despite the fact that a film this jaded has the balls to market a sequel, we are treated to the idea of who the villain would be for that alarm clock fantasy, and while I love the actor who is playing this character, it is again an homage to the mid 90’s, when big name A-list actors would portray comic characters even if they were terrible for that role. My biggest problem though, is how the big reveal is delivered, with the character revealing their name in a way that hasn’t felt as desperate since Joker wrote his own name in a tattoo in “Suicide Squad”. Without this name drop, this scene would be completely useless, and only highlights once again how poorly developed the characters and their respective backstories were for this movie.