Cast: Tom Hardy, Michelle Williams, Riz Ahmed, Scott Haze, Reid Scott
Director: Ruben Flesicher
Writers: Jeff Pinker, Scott Rosenberg, Kelly Marcel
It is just mindblowing that a movie as ridiculous as Venom exists today, never mind that it was this successful. In an age where superhero movies rule the box office and 90% of them share a certain samey quality (even when they’re good), Ruben Fleischer and Tom Hardy have stormed onto the scene with the force of a bloodthirsty, parasitic alien to deliver a film unlike anything else in Hollywood right now. Part derivative superhero origin story, part David Cronenberg split-personality body horror movie, part human/alien buddy slapstick comedy, and part Darren Aronofsky fever dream; Venom is a volatile clash of several disparate elements concocted by an illiterate mad scientist. Nothing about it should work, and indeed very little of it does, yet it is nonetheless an incredibly fascinating and tremendously entertaining movie. Venom is silly, baffling and almost completely incoherent and the only thing stopping it from being one of the year’s unmissable movies is its unwillingness to fully embrace its own looney tunes compulsions. The film has been edited right down to the barebones and is about 30% tamer, duller and more mediocre than the movie it clearly wants to be.
One of the most remarkable things about this movie is how totally unremarkable the first hour is. Much like Fantastic Four, Venom is one of those films that takes forever to get started. Before Eddie Brock (Tom Hardy) gets anywhere near the symbiote, there’s a lot of tedious set-up and painful banality to get through. First there’s the spaceship from the Life Foundation which we see crash somewhere in Malaysia where its black, gooey cargo escapes. Then we meet hotshot reporter Eddie Brock, a San Francisco journalist tasked with interviewing Carlton Drake (Riz Ahmed), the ingenious, trailblazing CEO of the Life Foundation. Eddie finds a scoop while snooping through the emails of his fiancé Anne Weying (Michelle Williams) which reveal that Drake is testing some lethal new drug on the city’s homeless population. Eddie confronts the smug scientist, who then proceeds to utterly destroy his life and reputation. Gone are Eddie Brock’s budding career, his beautiful fiancé and his good name. Now he’s nothing more than a loser; a washed up bum languishing in a rundown apartment. And yet there’s still a ways to go before he becomes Venom.
The particulars of how Eddie is eventually attached to Venom and gets the ball rolling (like a turd in the wind) isn’t really important and the movie would have been better had they cut half of it out. All that matters is that once Eddie and Venom become one, that’s when the magic starts to happen. Venom is a scary, slimy, many-fanged creature who fuses his consciousness with Eddie’s and starts to take control of his life. He operates Eddie’s body like an animated puppet whenever danger strikes, he compels his host to rabidly scrounge for food (preferably a chompable human head) and he speaks to Eddie both from within and outside his head in the form of a ghostly profile, oftentimes just to remind his new friend what a hopeless loser he is. Venom is essentially a warped cross between a superpowered antihero, an unwanted houseguest, a ravenous beast and an off-putting wingman. He doesn’t just protect Eddie when their accidental symbiosis places them both in danger, he also takes an interest in his life and even goes so far as to offer him dating advice. It is a strange, complicated, toxic, homoerotic relationship that they share (Venom and Eddie even kiss in one scene) and it never ceases to be fascinating or enormously entertaining. Venom could have been a supernatural rom-com completely void of fight scenes or an action-based plot and I would have watched it happily.
Tying all the madness together is Tom Hardy who delivers what can only be described as an otherworldly performance. The commitment he brings to this unbelievably unhinged performance is absolute, channelling both the intensity that Health Ledger brought to The Dark Knight and the complete lack of self-awareness that Jesse Eisenberg brought to Batman v. Superman. Whether he’s sweating profusely through night terrors, rummaging voraciously for food in the bin, screaming and flailing around on the floor or frantically climbing into a fancy restaurant’s lobster tank, Hardy brings 100% to every scenario the movie throws at him no matter how silly or random. There were moments when I actually felt concerned for his wellbeing, so convinced was I that he really did have some kind of alien parasite inflicting him all kinds of physical and mental anguish (which with Hardy is not a possibility I’m ready to discount). His is the only performance worthy of note; everybody else plays typically bland, underwritten characters who aren’t given enough material to compliment whatever kind of movie Hardy thought he was in save one scene where Michelle Williams is allowed to let loose for a little while.
Despite the movie’s enjoyability, whether inadvertent or not, there are far too many wasted opportunities holding it back from greatness. While they seem to understand that they struck some kind of comedy gold mine with Hardy’s dual performance, Venom is unprepared to commit itself to a comedic format and keeps things serious and boring for those scenes where he’s not around. Some action scenes such as a night-time motorcycle chase through San Francisco was rife for the kind of creativity and inventiveness that an indestructible shape-shifting alien could easily fulfil, but the movie never takes advantage of it. This scene instead trudges along without any sense of momentum and it is absolutely laughable how often they reuse the same locations throughout. The same goes for the climatic fight where Venom faces off against a bigger, stronger symbiote; a confused, unintelligible skirmish of dark slime shot at night where it’s just as impossible to make out what’s happening as it is to understand what Carlton Drake’s ultimate plan even is. Venom is in the wider scheme of things a mostly dull, self-serious film that would have little to no impressions had it not been for Hardy and the hilariously crazy movie he thinks he’s in. I wish everybody else had been on the same page as him.