Venom – Carnage’s Fury is the greatest film in the history of cinema. A masterpiece as few have ever been seen, a giant, a colossus that anyone who dedicates himself to the seventh art will have to deal with from now on. A classic and flawless yet experimental and revolutionary film, which takes ten steps towards the future but does not forget to pay homage to the past – which in turn compared to the results achieved by Andy Serkis, Tom Hardy and Kelly Marcel, former screenwriter of 50 shades of Grey to say what peaks we are aiming for, it seems only a sketch, a bad copy of what cinema can really give if the genius is left free to express himself. An unprecedented work, and probably also without heirs, because who will ever have the courage to try to challenge this monolith, this monument to everything that makes cinema magical?
What you have read so far seemed to us thethe only possible reaction to the vision of Venom – Carnage’s Furya movie so patently wrong and lopsided which insinuated us that the problem was our – that the work is actually so unpresentable that it goes all the way around and becomes brilliant, situationist, an experiment in deconstructing everything that makes a film a movieso complex and meta-textual that, in our ignorance, we did not notice it. Venom does nothing wrong: it is we who are not up to par, and we are unable to distinguish an ugly cinecomic, an Catwoman any, from a futurist work of art, and probably also futuristic, in the sense that if despite everything he still managed to collect half a billion dollars, the possibility that the next Sony-branded cinecomics all look like Venom it’s very real.
On the other hand, we are talking about a character intimately linked to Spider-Man and who lives in the only version of the Spider-Man universe in which Spider-Man does not seem to exist (?). It actually appears in Carnage’s fury, fleetingly, in a post-credits scene, not even in person but on a TV screen, distant and unreachable as only Tom Holland can be (another thing we learned thanks to this masterpiece). But it is a mirage, a dream that in all likelihood will never come true: Venom will have to continue to exist for a while longer in a Spider-verse without Spider, unless you really want to believe the suggestions of a Tom Hardy crossover. and the MCU suggested and then “denied” even in a post-credits scene of No Way Home.
But on the other hand Zack Snyder has been able to work twice on Justice Leagueso it’s all worth it.
Also in Carnage’s fury everything is valid: perhaps this is the keystone, the right light under which to see the film to appreciate its sublime value. Take Carnage, which is in the title and was already in a scene at the end of the first Venom which suggested a sequel in which we would meet the worst serial killer of all time, the most evil and cruel man on the planet, a complete sociopath without any form of empathy, the scourge of God, the monster Ed Gein was afraid of when he went to sleep and kept the lampshade on and the roller shutter rigorously lowered to keep the horror at a distance. And here he is also furious! Imagine what a furious family beater, a perverse people beater, can do, especially if a piece of Venom ends up in his blood, enough to create an even more angry clone of the alien living in Tom Hardy’s head!
All this we find out because the film he explains it to us. The closest you come to seeing Kletus Casady in action is … during a short animated sequence with the stick figures thus eliminating any really graphic elements in the couple of murders that are shown to us. This is what happens when you want to make an unfair and violent film but at the same time you have to take into account Greg from accounting, who never misses an opportunity to remind you that the first chapter was in fact a family film and that is why it had grossed a lot of dollars. , and that become suddenly too incorrect it could be a problem not just for the film but for a whole host of future perspectives that Greg has no time to waste explaining to you, he just asks that you trust him.
And therefore Venom – Carnage’s Fury it’s a superhero movie with a villain weakened by the writing itself, even worse than what happened to poor Riz Ahmed in the first film. A supervillain whose brilliant Ultimate Super Villain Plan is to marry his beloved one, an anthropomorphic plot point interpreted by what might superficially look like Naomie Harris but is actually Andy Serkis in motion capture. An incomprehensible villain, neither scary nor empathetic, in front of which Tom Hardy reacts, at least the first time he sees him, in the only possible way: not understanding anything.
Tom Hardy spends a lot of time in this film not understanding it, repeating “I don’t know / I wasn’t there / I didn’t see / I have no idea why this person did this / I was at the station and I was sleeping all over” and doing the amazed face of the one who has been awake for too little time for this bullshit. He is obviously the fulcrum of the film – and the presence of Kletus Casady in this sense can be seen as a tribute to the villain’s need for classic cinecomics but also as a parody and satire of his: what a superhero movie with the worst supervillain would be like. always? It would be what it is Carnage’s fury: a romcom that is regularly interrupted by the beating of an attention-seeking dude, so supervillain that (sorry if we repeat ourselves) his evil plan involves kidnapping a priest and marrying his orphanage sweetheart.
Already the first Venom was a romantic comedy, a classic he / she / alien parasite triangle occasionally interrupted by the delusions of a multimillionaire mad scientist starring among other things in the worst final fight in the history of superhero cinema (yes, at least in this Carnage’s fury it’s better). Here, Michelle Williams who exists only as a narrative function and vehicle to bring her future husband Dan into the action, promoted by the film to inexplicable deus ex machinaSerkis can concentrate entirely on the relationship between Tom Hardy and Hardy Tom, between Eddie Brock and his symbiote, and show us many essential daily moments that make us understand how difficult it is for the two to live together in a civilized way.
It is right in front of the Venom scene that he prepares Eddie breakfast by singing Ella Fitzgerald, or perhaps when Venom interrupts a hip-hop concert to launch into a monologue on inclusion and acceptance of diversity before dropping the microphone and walking away, or maybe it is when the film decided to dedicate more time to the Sonny & Cher chickens than it had devoted up to there in Carnage, in short, in front of one of these hallucinating moments of choice that we raised our hands and declared our unconditional surrender. It is impossible that everything is as it appears, that Carnage’s fury is really a film set in a Californian metropolis in which the only person to sell chocolate is the elderly owner of the market under Eddie’s house, in a world where smartphones exist but Amazon does not exist, it is impossible that the scene of Carnage slipping his tentacles into a laptop thus creating a Flash animation that instantly tells him where to find his beauty has been written with a straight face, that there is no other interpretation, another interpretation. that is escaping us.
The problem is ours, we repeat, we can not help but surrender to the evidence. Maybe the point is that Carnage’s fury it is a film made to generate questions; to stimulate synapses, train neurons. “Why doesn’t Eddie go to the butcher and buy a few pounds of brains to give to Venom instead of doing all the chicken fuss? Does Eddie Brock live in a parallel universe, a version of the United States in which there is no beef, pork, rabbit, horse, only chicken? Why doesn’t Eddie go to the mall to stock up on chocolate for a few months? Why does Kletus tell Eddie that he will tell him everything, then he gets mad when Eddie posts it? Is it because the information was forcibly extracted from him? Is that why he has the fury? Or is it marital problems? What exactly does that Carnage “It’s one of the red ones” as Venom says at random, out of nowhere, with no explanation, the first time you see him?
The last time a film raised so many unsolved questions and queries in us was 2001, and David Lynch he had just given to the world Mulholland Drive. It is possible that Carnage’s fury both the Mulholland Drive of our times? Or is it perhaps our times that are the Mulholland Drive from Carnage’s fury? They are, we are sure, the same questions she asked herself Kelly Marcel before writing it, and the result is there for all to see (… those who are intellectually and emotionally ready to receive the blessing that is watching this film). So don’t worry if you see spontaneous questions like “but what did he come up with?” or “but what am I looking at?”: this is how Art works, give it time and you too will understand.