Just outside the gate, “Venom” may be one of the worst-reviewed Marvel movies of all time প Rotten Tomatoes has a whopping 30% rating of the movie কিন্তু but it didn’t stop the crowd of viewers from watching a bug-eyed Tom Hardy Corney 2018 stand out character, Has collected a staggering $ 864 million-plus worldwide. No wonder then that parent studio Sony (whose Marvel Cash cow possession was limited to Spider-Man and its spin-offs) ran into the green light that would turn Venom back against its most recognizable, non-spidey nemesis. In early 2019.
Directed by Motion-Capture star blockbuster Helmer Andy Serkis (more than instructed), “Venom: Let the Be Carnegie” has all the hints of a slap-dash cash grab. The set-pieces are ubiquitous, the visual effects are everywhere, and the smiles basically come at the expense of the movie. But it introduces murder, so in that case, the mission is done. Of course, the irony is that in their rush to get a sequel to the theaters, executives may not know that the global epidemic will be delayed by a year. If only they could slow things down and take their time to come up with a good story.
Kelly Marcel’s script seems to suggest that she was tasked with taking dictation to a Square-One spitball session, where the attitude must be “there’s nothing called a bad idea”, unless all the idea was to classify Venom. Against his blood-red opponent, serial killer Cletis Cassadi (aptly perverted Woody Harrelson), who possessed the same extra terrestrial symbiotic that infected Eddie Brock. Performing more erratically than the original, a handsome-looking Hardy Borderline shares the story’s credit in an understandable script that changes genre in Ruben Fleischer’s previous entry.
While “Venom” took a fairly fancy approach to treating the original story of a comic-book as an alien body-snatcher horror movie, the follow-up to the 80’s inconsistent-friend movie (where both characters are part of the same body) and Off the Wall Jim Carrey comedy “The Mask.” Marcel’s script looks like he’s just dictating a square-one spitball session, where the attitude must be “there’s no such thing as a bad idea,” unless all ideas are against Venom’s classification. His blood-red opponent, serial killer Clatus Cassadi (aptly distorted Woody Harrelson).
The first isolated law shows that Brock (Hardy) is still struggling to co-exist with the disfigured space blob, which manifests itself as a tar-black, piranha-toothed Siamese twin / mutant tumor ব্র the metaphorical monkey-roaring insult on Brock’s back The host can hear and nourish the human brain with its insatiable appetite. Brock has been able to keep Venom active on a diet of chicken and chocolate, but the parasite (which incidentally behaves as horribly as ET in the much more entertaining Korean “parasite” movie) can no longer restrain itself.
Theoretically, this could be another memorabilia license for over-the-top public embarrassment, which ex-girlfriend Ann (Michelle Williams) referred to as “that bizarre explosion at the lobster restaurant” from a previous movie. Instead, we observe Brock – a rude tabloid reporter who thinks he hasn’t slept or shaved in a few weeks – trying to play house with this incompetent creature. As promised by Venom & Credits, Brock has an exclusive interview with Harrelson’s Cassadi, who can solve a case based on Venom’s skills that excludes police detective Mulligan (Stephen Graham).
That scoop keeps Cassadi in line for the electric chair, until the symbiot (increasingly dissatisfied with Brock as host) fuses with Cassadi, with much stronger and more destructive results. Relating to more humane Marvel heroes যাদের most of whom are flaunting muscles in bright, skin-tight suits ভ Venom and Carnegie were comparatively strange-looking monsters. While the previous “Venom” movie was relatively restrained in how the symbiot behaved, the sequel’s goal was to show a broader strategy, leaning too heavily on computer-generated effects to demonstrate the potential of both characters.
Cassadi uses his power to track down mutant girlfriend Frances Barrison, AKA Srik (Naomi Harris), “breaks up” with Venom Brock and hits clubs, breaking up a costume party like his own. The death penalty is too clumsy to register the idea, but if you bother to remake the movie, you’ll find two very unconventional romances: the natural-born killer Cassadi and Barrison try to get out of prison and get married, while Brock and Venom slowly kiss each other. Learns to accept as a life partner.
Everything is overseen by Circus, who understands almost all the technology needed to get the required virtual performance, but shows almost no vision as a director (despite the sincere award-bait drama “Breath” and the dark, very ambitious promise. CG “Jungle Book” adaptation “Mowgli”). But his “Venom” entry is horrible and ugly to look at, because digital characters wreak havoc on buildings that we don’t believe were in the first place. About half the length of the recent Bond movie before the credit, “Venom: Let the Be Carnegie” seem to have cut within an inch of his life, leaving a phantom mark of a scene that was either scrapped or not first shot.
Why is Kasadi so angry at Brock? He repeatedly mentions a betrayal that the circus never bothers to portray – otherwise it gets badly cut after the test screening. Next, there are some parts that are clearly missing from the climate showdown, such as when we see Vinom at the bottom of a pile of rock blocks: where did they come from, and he wasn’t Brock just a few seconds ago? Luckily trying to understand such gaps, or the last-minute tees where this franchise could go after, including a mid-credit tease that connects Venom to Spider-Man Multiverse. Maybe he’ll do better there. Despite having two dedicated features and a prominent role in his name in a similarly disappointing “Spider-Man 3” to Sam Raimi, Venom retains the irresistible potential that no one will be able to confirm in the end.