Monolithic Familiarity

While it’s easy to perceive that, beyond the Marvel Cinematic Universe, there has been a rather ‘resurgence’ in regards to one-off superhero films that respectively bring with them their own distinctive likenesses, whether it’s Deadpool’s inherently comical 4th wall-breaking or Logan’s compelling emotion within its characterisation, it can’t go unnoticed how avid these types of films have festered cinemas and home entertainment since yesteryear. Ever since my own upbringing, you only have to look back within the late 90’s and early 2000’s to see how studios were ambitiously plunging their conglomerate power to dominate the cinematic space; since the comic-book golden age demanded live-action adaptations. From films like Blade to early X-Men, Catwoman and Ghost Rider, it’s fathomable to gaze how intuitive studios were to dip their money-making toes in a genre that would gradually see dominance in the box-office. The aforesaid examples shows-us now how they were films that didn’t know the formula that would strike accord with fans and critics alike; displaying a overlandish contextual bravado that would either hit-home or fall flat with cinema-goers. This is similar to what’s presented in Ruben Fleischer’s attempt in crafting Venom; a stand-alone Spider-Man spin-off which curiously takes an interesting turn with the infamously monolithic showman of one of Marvel’s famed villain. In spite of this attempted twist, which is hugely pays-off thanks to Tom Hardy’s devotion in playing the central character, does Venom exhibit a contextual merit which doesn’t fall in-line in being fantastically conventional or formulaic?

Notorious for delving into the world’s secret and known stories around the world, Investigative Journalist Eddie Brock (Tom Hardy) is tasked with a new job in researching/taking down Carlton Drake (Riz Ahmed), CEO of Life Industries, who’s been documented to be using human’s for suspicious experiments. While investigating one of Drake’s experiments up-close-and-personal, Eddie’s body fuses with an alien life-form, named Venom; one of the four symbiote’s initially acquired by Life Industries to help the aforesaid research company with life-threatening diseases. Upon their symbioses, Eddie and Venom gradually become one in-the-same and both reach a common goal in not only in eradicating Drake’s plans, but also combating against another symbiote entity that has a far greater scheme up his sleeve…

Considering that this review of Venom is now published at a time where the aforesaid film has been released for a considerable amount of time, and how critics and ordinary cinema-goers have had their respective opinions on Ruben Fleischer’s film, it’s hard for me to mention something new and opposing since a lot of things have been said already; good and bad. However, considering that my introduction to the character of Venom came from one of the better childhood experiences in the form of the Spider-Man Animated Series, and how horrifying the said villain was for me growing-up, it would be foolish of me not to provide my input since the character that Tom Hardy wholeheartedly enacts has a deep-rooted emphasis that’s filled with comic-book wonder and joy. However, it’s this ‘joy’ which ultimately circulates the conundrum that is Venom. As much as I was intrigued to see how this famed slithery and slimy alien-entity was going to be portrayed on the silver-screen, whether there would be any remote hint the characters relationship with a certain web-crawler or sequences where we would see Venom’s intimidating dread that’s seen in past comics and animated shows, it was this interest which was put into question once the first couple of trailers were released of the film and how these couple of minute snippets exclaimed a rather rushed and conventional story-structure which appears to have originality whatsoever. This, rather disappointingly, comes seemingly into fruition throughout the entity of Fleischer’s film where you’re presented with a central character, in the form of Eddie Brock, who goes through a formulaic structure that is ultimately predictable and compelling to the point where no creativity is emphasised. It’s a film that awkwardly follows a straight and unconvincing story-line that can be easily thrown away and while the sequences between Eddie and Venom are enjoyable to watch, which are filled with relatable banter and intriguing dialogue, it was these specific moments which were strictly limited and were only seen a good couple of times. In many regards, the film annoyingly reminds me of Netflix’s live-action adaptation of Death Note, a film which begrudgingly only showed a certain demonic character only a couple of times in its run-time but proved to be the pivotal aspect that gave the film some creditable merit. This is exactly the case in Fleischer’s film, where the interaction we see with Eddie and Venom are scarcely seen which isn’t what a lot of people signed for. Considering the fact that Venom willingly exhibits scenes infused with comical gesture between Eddie and Venom, it does make you question as to what sort of angle Fleischer, Sony and the rest of the film-making crew were after when making this film. The reason for bringing this into the lime-light is because one of the biggest deficiencies  that this film has going for it is its moral intentions. Were they meant to construct a buddy-comedy centring on two “losers” as both Eddie and Venom exclaim? Or was there intention just to make a superhero spin-off that has remote plot-point whiffs of Ghost Rider and The Incredible Hulk? From my own take-on it, it genuinely seems as if Sony desperately wanted Venom to be released as soon as possible and from the way in which scenes are editing with one another, the film overall seems rushed in its development; almost as if it spawned from the rushed-disaster that was X-Men: The Last Stand. It’s a constant stress-test when it comes to its themes since there’s a confliction between two contrasting styles that paves the way for a rather confusing experience; a disconcerting story that is understandably fun, but is blatantly bad and boring. It’s this very boredom which seeps into the characterisation and enactments of this spin-off. 

If there is one silver-lining between this rather monolithic and bland tripe of a feature that can be credited for, it’s Tom Hardy’s actorial devotion in trying to portray Eddie Brock/Venom in a manner that enthuses those who are are of the character and general audiences that curious to know more. Gone is the awkwardly forced rendition of the character from Sam Raimi’s Spider-Man 3 and we’re presented with a more natural and sombre rendition of Eddie Brock that doesn’t shy away from gauging his charisma with his comical gestures. This is greatly heightened once the symbiote snakes its sinuous way into Eddie’s body and forming a twin-identity monster called Venom. As mentioned, from the brief glimpses in which Eddie talks and interacts with the alien, we’re presented with the better scenes of the film since it’s this very contextual point which could have been compellingly flourished; not a formulaic and dull plot-line where the ‘good’ Venom changes his mind in saving Earth to defeat a ‘bad’ symbiote named Riot. It’s this rather bland and predictable linear synopsis which begets ennui and annoyingly draws parallels with lazily-written action films that are only good for putting on in the background of a party get-together. It maddeningly cancels a potential deviation of Eddie getting used to his new alien friend and neglectfully opts for a throw-away arc. It’s this ordinary aspects which runs through the rest of the characterisation, where we’re presented with submissive and unimportant roles that don’t add any weight to a archetype that waste’s its potential. You only have to look at Michelle Williams’ contribution as Anne Weying, Eddie’s girlfriend, who doesn’t do anything substantial other than being a necessary deus ex-machina.

Up until now, I’ve been purposefully been saving my last discussion point till last, considering how drastic and poorly executed it truly is. But, it can’t be helped. By far more the most damning aspect that’s feasible to notice is not the obviously linear plot, but the action scenes themselves which are completely devoid of any warranted creativity. As stated, there are many suggestions to mention how rushed Venom truly feels and it’s through the editing and longevity of these specific action sequences which suggest this; where we’re presented with constant cut-backs to different angles and perspectives that hastily muddle what’s being shown on screen. Never have I wanted to watch John Wick more! The fact that we get to see so little could be due to the fact that the aforesaid feature didn’t receive it’s goal in being an R-rated film, which is unfortunate. However, at the same time, this is where the likes of your editors have the opportunity to subtle and cleverly showcase the central characters’ physically daunting attributes. The thing that most people were avid to see will be aggravated by how lacklustre the action scenes are with a character like Venom that can be expressed in so many creative ways. Such a waste.  

As much as Sony wanted to once again bite the superhero cherry from money-making orchard, there fruity ambitions are drastically quashed with Ruben Flesicher’s Venom which strays away from its clear potential, and instead focuses on simple and conventional formalities which come across rather bland and uninteresting. What’s weird however, is how much I wasn’t overly-annoyed by the films important aspect. Sure, it’s a film that clearly falters in terms of its contextualisation and film-making, but it’s the very fact that I was half-expecting made for a rather oddly fun experience. This is certainly credited by Tom Hardy’s devoted performance as both Eddie Brock and Venom which provide the best scenes in the film. The fact that these buddy-sequences are limited, shows that those who were responsible were rather conflicted as to what story they wanted to tell. By no means is this as bad as Kingsman: The Golden Circle (of which we won’t delve into!), since it has pleasurable merit that you could stick-on once or twice; similar to superhero films of yesteryear. However, it’s the very fact that everything else appears to be formulaic just negates Venom to be memorable…

On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you for reading my latest Film Review in the form of Ruben Fleischer’s Venom and if you happen to have any opinions on the film or my review, you’re more than welcome to express your thoughts down below. For next week, since it’s Halloween, I’m going to be doing a Retro Film Review of one of my favourite spooky guilty pleasures!…😮👻 Thank you once again for reading my latest Blog Post and I hope you’re all having a nice week! Adieu!! 😁💪👾👽💥

★★☆☆☆ – Alex Rabbitte