When I think of Reznor/Ross lately, I’m reminded of “In Motion” from their Academy Award winning score for The Social Network, the dark piano tones in “Hypomania” from The Girl With the Dragon Tattoo, or the slow building craziness of “Technically, Missing” from the Gone Girl…
About 20 years ago, a friend and I walked out of a movie theatre for some pizza. On the way to the Pizzeria, I raved about the movie we just watched. The effects were awesome, and the main character was bad ass. My friend didn’t share the same sentiment, and over the dinner, he went on to explain everything that was wrong with the film. Bad CGI (for its time), 2 Dimensional Characters, and a pretty simplistic plot. By the end of my dinner, all of my joy was sucked away. I wanted to believe, deep down that I walked into a quality production, but there was so much room for improvement.
That film was Mark Dippe’s Spawn.
I mention this because after seeing Ruben Fleischer’s Venom, Spawn was the first film that came to mind. That makes sense, given that a lot of Venom’s genesis is from artist Todd McFarlane, who also created Spawn (and gave Spider-Man some of the best webbing I’ve ever known). There are parts of Venom I truly enjoyed, and I can say that there isn’t much of a problem with the acting on anyone’s side. However, the levels of boredom in the film’s first hour will have you wanting to bring in a highly caffeinated drink to sip on, just to stay awake. The lady next to me yawned, which made me yawn and it just cycled through the audience. The good sequences are already visible in the trailers. As much as I’d rather not do it, Ladies and Gentlemen, we have an Incident on our hands.
Here’s a clip of Venom from the Ultimate Spider-Man Video Game (easily recommended) to give you a rough idea of how he is.
From a plot standpoint, Venom does a good job in giving us a story for how Eddie Brock and his Symbiote meet without factoring in Spider-Man at all. Comic readers remember the Secret Wars, where Spider-Man lost his suit and picked up a symbiote replacement. When the Symbiote proved dangerous, Peter Parker got rid of it and it fell into the hands of his former Daily Bugle nemesis, Eddie Brock. Together, they formed Venom, a beast with all of Spider-Man’s powers and Brock’s hatred of Parker. Venom plagued Spider-Man, who was incredibly dangerous because he was one of the few villains that didn’t set of Parker’s Spidey Sense. He could sneak up on him at any time, assume the likenesses of other people, and Parker would never see him coming.
The Sony Spider-Man series changed this up in Spider-Man 3, replacing the Secret Wars with more of a Blob-like story. Symbiote crashes to Earth, finds Parker. Parker decides to rip it off and it finds Brock. In this new version of Venom, symbiotes already exist in space, and a corporation lead by Carlton Drake (Riz Ahmed) are trying to bring them to Earth to intermingle with humans. When investigative reporter Eddie Brock (Tom Hardy) stumbles on the corporation’s evil plans, he accidentally joins with a symbiote and finds himself with a near insatiable hunger for the living.
You have the best 2 in 1 team up since Leigh Wannell’s Upgrade. I would not be opposed to a sequel for this if they tightened up the writing. Maybe that’s my problem. Both Upgrade and Venom are similar, but only one had an interesting character that looked like Tom Hardy (sorry, but Logan Marshall-Green does bear a resemblance).
Ruben Fleischer’s (Zombieland, Gangster Squad) direction is okay here. With Cinematographer Matthew Libatique (Iron Man, Black Swan) at his side, Venom doesn’t have many problems there. With the exception of the final confrontation, the shots aren’t too blurry or hard to track when the action starts. Even though Venom is a visibly dark character, I couldn’t complain that scenes weren’t well-lit.
For me, the problem with Venom is that at an hour and 52 minutes, it feels like the first hour is just waiting for that symbiosis to occur. Eddie Brock doesn’t really become interesting until Venom appears (also voiced by Hardy), and that’s a rough thing to say, given the cast involved. We’ve both seen Hardy, Ahmed and Michelle Williams in better roles, but they really aren’t given any real meat here. The dialog is a little shaky in some places. Hardy pushes himself hard here, and you see how disjointed Brock gets as he adjusts to the changes. Brock as a character, however, doesn’t really have a lot going for him. Neither did Peter Parker or maybe even Steve Rogers, but there were elements about who they were that helped you to appreciate who they be became as superheroes. Steve Rogers was a weakling with a good spirit, which made him a better Captain America. Peter Parker was a chemical whiz kid and came up with his own web-fluid. Brock just…well, reports. There’s a lot of boredom in that first hour. The best scenes are the interactions between Venom and Brock, full of cute banter. It’s like having an unwelcome guest wanting to meet your parents. It just took so long to get to that point. When it does, however, the movie improves. They do manage to get a lot right about what Venom can do.
The CGI in Venom is definitely good in some places. It stands as the best argument for another remake of The Blob. The symbiotes are creepy in their design and motion, slithering up walls and making their way through vents. Venom, in all it’s glory, is quite a sight to behold, towering over humans. It goes a little overboard over the last 3rd of the film. I can’t say I knew for sure what it was I was looking at, but that’s to be expected with some superhero films.
If you see the film, stay for the mid-credits scene, which teases a future character. Also stay for a near 5 minute sneak peek into Spider-Man: Into the Spiderverse.
Overall, if you feel you have to see it in a theatre, by all means, do so. If you can wait for it to come out on Digital, that may be the best route.
As Venom is the latest Incident, we set the Days Without Incident counter back to Zero.