iReview | VENOM
Street journalist Eddie Brock has just stumbled upon an alien invasion of epic proportions in Sony Pictures VENOM based on the Marvel Comics anti-hero, though don’t expect an ever-loving web-slinger to make any appearances!
The year was 2007 and although there weren’t very many superhero franchise films saturating the summer blockbuster season, genre-films were starting to make significant strides winning audiences and luring fans into the multiplex. Though clearly there were signs that fatigue was starting to set in — no where was that more evident than in Sam Raimi’s Spider-Man franchise and especially when it entered into its third installment. Spider-Man 3 didn’t enjoy the same critical appeal as its predecessors, neither did it ooze with charm.
In fact it oozed into obscurity and the critics pretty much tore it to shreds, inspiring Sony to immediately demand a “reboot”. Many cited that the film was particularly dense, having added too many extraneous characters — one in particular came at the demand of the studio. Hoping to send a more contemporary message, Sony requested that a modern villain be added to the line-up; particularly the studio requested that Venom be added into the mix. The black-clad alter-ego of Eddie Brock represented the antithesis of everything our hero stood for.
Unfortunately the character was largely lost in the melee that climaxed the film, but Sony held on to the property hopeful that one day they could resurrect the villain; holding most of the Spider-Man properties even as the web-slinger slipped through their grip (even after a pair of largely unpopular reboot attempts with a new Spidey under the hood). Now making good on their promise to steal some of Marvel Studio thunder, Sony unleashes Venon starring Tom Hardy as Eddie Brock, and the unwitting host of the titular anti-hero.
The idea of Venom as a stand-alone franchise is obscure enough, and the fact that Sony plowed ahead with the feature without incorporating Spider-Man into the origin story is simply arrogant. The studio, of course, is banking on the conceit that audiences are willing to accept “alternate facts” when it comes to their genre fandom and comic book favorites. It’s worked for HBO and their hit series Game Of Thrones which has gotten tired of waiting for fantasy novelist George R. R. Martin to complete his saga and decidedly spun the narrative in its own direction.
The entire CW primetime line-up has been switching up, enhancing and taking major liberties with its adaptation of DC Comics properties for upwards of a decade now, so theater goers shouldn’t be too traumatized with the creative directions that screenwriters have taken with director Ruben Fleischer’s vision of the slick black insidiously predatory goo from space that instead of piggy-banking on Peter Parker ends up latching onto Brock (Hardy) who is still a street reporter chasing down political scandals and civil injustices on the streets of San Fransisco.
When Brock gets assigned to profile visionary industrialist Carlton Drake played by Riz Ahmed at his hyper-secret lab complex, he takes the opportunity to grill Drake on the accusations surrounding his firm — accusations that Drake’s team of scientist are exposing innocent people to dangerously unstable antigenes and using them as lab rats. Drake doesn’t take it kindly to the possible exposure and instead goes about shattering Brock’s credibility and firing his lawyer girlfriend, Anne Weying played by Michelle Williams, effectively ending his relationship!
Two Is Company!
Down and out, Brock has become a mere reflection of himself until another opportunity to expose Carlton Drake as a threat presents itself. Sneaking into his lab, Brock is exposed to an alien symbiote that attaches itself to him; most of Drake’s attempts to merge with the alien have proven unsuccessful, but in Brock’s case “Venom” takes to Brock very easily. The two soon form an uneasy alliance, as Venom begins to comfortably set into his new surroundings (Brock) and reveals to Eddie that Drake intends on bringing a symbiote invasion force to Earth!
Drake bonds with the murderously fowl “Riot” and exerts a plan to launch a shuttle into space to intercept that asteroid home of the symbiotes. If Riot is successful, the human race will effectively be wiped out and replaced by the predatorily merciless creatures. It’s up to Brock and Venom, with the help of Anne, to thwart Drake/Riot’s plan and save the planet! Venom nearly sacrifices itself to save his human host, and Eddie returns the favor. The two enter into a bargain to protect the innocent and only eat the bad guys, but only the really, really bad guys.
For most of Venom the audience gets to know Eddie Brock. The largely unlikable character from the comic has been reimagined to suit the star quality of Tom Hardy, who is largely charming in the role. It’s unfortunate though that Venom is anything but charming. The creature is crude and unappealing to look at; a CGI monstrosity that once it takes over the film becomes a monster movie, and that’s perhaps where it loses its thrust. With a new superhero adaptation taking to the big screen almost every season, these films have had to evolve to meet audience expectations.
An example of which is Marvel’s Guardians of the Galaxy which is a modern space opera, and a complete flip to the more grounded world of the Avengers. When Marvel continued to expand its brand it introduced the multiverses of the Marvel Comics with Doctor Strange and Ant-Man both features dramatically different in tone, one skewed toward the metaphysical, the other more science-fiction, but each providing a different tone and pushing the boundaries of the genre into all-new, all-different arenas — thereby bringing in new audiences.
With Venom Sony had an opportunity to make a significant departure and deliver something that would have been completely unexpected — taking advantage of the anti-hero’s darker tone and violent nature to make a genuine horror-monster movie. Venom eats most of his victims when it isn’t impaling them on its prehensile spikes, but most of that happens off screen during the action scenes. Drake’s ultra-secret science lab where he conducts his experiments of the symbiotes had most of the trappings of a chamber of horrors, but just suggest how lethal his intentions are.
Venom instead sticks to the tropes of its genre, doesn’t really change the beats established by its predecessors and ends with the CGI slugfest that has permeated most of the other superhero movies of late. With the exception of the credit stinger (which leaves some glimmer hope), Venom doesn’t really get as dangerous as you’d hoped it would be, and is simply as adaptive as the symbiote it portrays. Perhaps if Fleischer is inspired by the recent comments Tom Hardy made while promoting the film, he’ll re-edit a “director’s cut” and put some R-Rated content in!
Venom starring Tom Hardy and Michelle Williams; directed by Ruben Fleischer | Rated PG-13