Journalist against billionaire
The main character is manly, unshaven and hard waking up in the morning, journalist Eddie Brock (Tom hardy). His professional accomplishments Director Ruben Fleischer demonstrates with the help of a dashing collage of television reports that Eddie convinces the powers that be San Francisco, broadcasting from various unsightly locations in the city, and which clearly reinforces the fact that the work of Eddie rides a motorcycle.
Suddenly decisive character is sent on a “biased” interview with a billionaire by Carlton Drake (riz Ahmed), who is engaged in genetic research and fun space flight, rockets, almost from the center of San Francisco. Eddie is surprised to job, because he was accustomed to denounce, and not to lick. And yet denounces billionaire in unethical human experiments, violating every conceivable journalistic standards and, in the end, losing everything — job, and the bride (Michelle Williams), and housing.
Billionaire against humanity
The audience of the journalistic behavior of Eddie, who, as it turns out, and had a disappointing professional mistakes, which was forced to move from new York to San Francisco are surprised to a lesser extent. Because by this time Director Ruben Fleischer has already shown that the billionaire is quite doubtful identity, trust which is impossible.
From space on its behalf has taken samples of alien life — a viscous dark mass that splashing in the flask. And now Carlton is trying this life to connect with the human body, bringing a new kind of people (present Earth, in his opinion, is doomed). Laboratory experiments give the opportunity billionaire broken record preaching “experimental”, and authors to savor their recognizable cramps. Alien at the same time with the journalist
The relative originality of the picture is not associated with the alien “strangers” and joined him a billionaire, but with the figure of the protagonist, which is woven from attractive unheroic contradictions. Their Tom hardy carries, on the screen, the hard mimiru his face. His Eddie — even though the biker shows soft nature of the failure, avoids conflict and is afraid of heights.
Journalistic duty, however, is above the fears, and the hero enters a secret lab where the alien ooze, turn into it. “Swill” is calling himself venom and quite comfortable settles in the body of the hero, starting with Eddie’s tongue-in-cheek dialogues from the heart. Together they decide to confront a billionaire, so, as usual in such cases, to save from destruction and humanity and yourself. Entertainment instead of logic
The picture suffers from a certain lack of consistency: in the laboratory, which penetrates Eddie, not even the cameras, which would have allowed him to identify, and the results of his journalistic investigation, he, in fact, it never publishes.
However, the shortcomings of logic completely compensate for the toothy entertainment, demonstrated by the symbiosis of man and alien, as well as high paced action that takes the story.
There is a place and a melee during which the human limb Eddie replaces black alien mass, and explosive racing on the hilly streets of San Francisco, and the struggle with the forces inside the lobby of a skyscraper, beautifully filled with smoke, and even a clash of two monsters in the background bursting with heat engines of the spacecraft.
For example, the intensity of this final, richly decorated with computer special effects scenes is that allows you to ignore the important fact that since the decision to launch a rocket into space before it actually starts some five minutes. Now bite their heads off!
“Venom” is based on comic book marvel, but look at the background of “family” movies-comic book Studio marvel, which is several times a year rip off cash in the global box office, defiantly aloof — if not a grown-up, teenage defiantly. Thus makes itself felt the dark power of evil, which filled the toothy alien creature.
His desire to bite opponents head and relish human flesh directed by Ruben Fleischer burst of dirty sets and appropriate props (dirty toilet, which Eddie are close friends, for example). But still not going to radically drown occurring in the blood, drifting in the direction of a “compromise” of humanism.
Full tradition Studio “marvel” manifest itself in the final scenes during and after credits. The first miniature hints at how the story will develop Eddie in the future (that will be continued to doubt almost not necessary). The second — announces animated film “spider-Man: universes” Peter Ramsey, which is due out in theaters December 13th, promising to continue the endless comic book story that is as entertaining and “venom” — is hardly surprising, but not provided.
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