THE OPINION OF THE “WORLD” – “WHY NOT”
As a dealer of Spiderman, Sony is a stone in the Disney garage, which has already placed all the figurines of the Marvel universe there without being able to dispose of the spider-man as it pleases. Let’s bet it’s only a matter of time for the Burbank ogre. In the meantime, Sony, from “reboot” to “spin-off” and “rereboot” (various versions of films or series), exploits Peter Parker in all sauces and develops, like its competitor, “the extended universe ”of the character, supposed to honor his main antagonists. The studio thus embarked, in 2018, in a saga, Venom, who, if she honored her business contract, is well on its way to not be remembered. Here is the second episode, which does not fundamentally upset the situation.
We find there the journalist Eddie Brock (Tom Hardy), host of an alien bacteria which sporadically transforms him into a cannibalistic monster called Venom. That is “One of the most impressive and complex characters in the Marvel universe” reassures us the press kit, which translates in non-promotional language by one of the most hideous and stupid monsters in the said universe. A sort of slimy giant black lizard, with a bean-shaped head and a prodigiously toothed jaw. It should be added that appearing in the comics in 1984 Venom has everything a counterfeit of theAlien by Ridley Scott, who himself had extricated him from the dark imagination of Swiss artist Hans Ruedi Giger.
Titanic Final Fight
Still, this sequel confronts Brock / Venom with the serial killer Cletus Kasady (Woody Harrelson), who, after having bitten the blood Brock came to collect his confessions of death row inmate, also turns dry into Carnage. Or an improved version of Venom, red, sprawling and deadly ray-launcher, even more stupid, even more nasty, which obviously has no other goal than to wipe the face of the earth from the face of the earth. Let’s move on to the titanic final fight, in the tower, model of lightness and copy and paste. For the above, next to nothing. No act a little motivated. No profession even sketched out. No feeling that holds up.
A girlfriend on both sides, reduced to figuration in each case. On the other hand, we put the package on the intimate relationship between Brock and Venom, distanced at will, as a continuous household scene between the host and his parasite. Du Feydeau (peace to his soul) among the symbiotes. Deprived of human brains, his staple, by Brock, Venom is put on a chocolate diet that drives him crazy. It is undoubtedly this schoolboy, Freudo-Brechtian side of operetta, which makes it a pop entertainment and saves the film from disaster. The register, enhanced by the effects of funny ventriloquism for the dialogues, is nevertheless quite quickly exhausted. We come out pensive.
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