Review: ‘Venom: Let There Be Carnage,’ starring Tom Hardy and Woody Harrelson

September 30, 2021

by Carla Hay

Tom Hardy and Venom in “Venom: Let There Be Carnage” (Photo courtesy of Columbia Pictures)

“Venom: Let There Be Carnage”

Directed by Andy Serkis

Culture Representation: Taking place in San Francisco, the superhero action film “Venom: Let There Be Carnage” features a predominantly white cast of characters (with a few black people and Asians) representing the working-class and middle-class.

Culture Clash: Venom, the demonic alien anti-hero that inhabits the body of journalist Eddie Brock, does battle against a similar creature called Carnage, which inhabits the body of convicted serial killer Cletus Kasady. 

Culture Audience: Besides appealing to the obvious target audience of comic book movie fans, “Venom: Let There Be Carnage” will appeal primarily to fans of star Tom Hardy and people who like silly, over-the-top and predictable action movies.

Carnage (pictured at left) in “Venom: Let There Be Carnage” (Photo courtesy of Columbia Pictures)

The good news is that “Venom: Let There Be Carnage” isn’t as wildly uneven as its predecessor, 2018’s “Venom.” The bad news is that it’s consistently stupid in its campiness and appalling lack of originality. It’s very obvious that the filmmakers of “Venom: Let There Be Carnage” have a “go for broke” attitude about leaning into the unintentional comedy that “Venom” got a lot of criticism for by fans and critics

The prevailing attitude in “Venom: Let There Be Carnage” (directed by Andy Serkis and written by Kelly Marcel) seems to be: “You laughed at ‘Venom.’ Now, we’re going to be in on the joke and tell the joke so you can laugh with us, not at us.” And there’s nothing wrong with turning this Marvel Comics movie franchise into a quasi-superhero satire or parody. The problem is that “Venom: Let There Be Carnage” doesn’t have an interesting or imaginative story.

Marcel and “Venom” movie franchise star Tom Hardy are credited with coming up with the “Venom: Let There Be Carnage” story that serves as the basis for the movie’s screenplay. Marcel was a co-writer of the 2018 “Venom” movie, which was directed by Ruben Fleischer, who failed to have a consistent tone for the film. In “Venom: Let There Be Carnage,” Marcel is the only credited screenwriter. She also wrote the 2015 movie “Fifty Shades of Grey,” which means that she has a track record for churning out terrible movies that are ripe for parody.

Every single thing that happens in “Venom” is tiresome and predictable. And the “jokes” are very stale and unimaginative. The visual effects are bombastic and sometimes cheap-looking. And the movie is so enamored with its own bad taste that it keeps going back to the same gags over and over. There’s a recurring joke about chickens that gets tiresome very quickly. Another joke involving a clerk at a convenience store is over-used to the point of boredom.

“Venom: Let There Be Carnage” is also a uselessly blaring action movie that wants to pretend that being unnecessarily noisy in certain scenes means that it’s somehow proving its worth as an action movie. Loud action scenes are expected in a movie like this one, but there’s too much shouting by people in the non-action scenes. And there’s a character who literally causes tornado-like damage when she shrieks like a banshee.

In “Venom: Let There Be Carnage,” which takes place in San Francisco, investigative journalist Eddie Brock (played by Hardy) is still struggling with the knowledge that he has a human-eating demonic alien living inside of him called Venom. Eddie can usually control Venom by deciding when Venom can appear outside Eddie body. However, when Venom gets too hungry or too angry (which happens a lot), Venom can act of his own free will, which usually involves the destruction of things or people.

Just like in the first “Venom” movie, expect to see Eddie having numerous arguments with Venom. Because people can’t see Venom when Venom is inside Eddie’s body, it often looks like Eddie is talking to himself when he’s really talking to Venom. In the real world, this unhinged persona would have serious consequences on his career as a journalist, since people would question Eddie’s mental health and the ability to do his job well. But since this is a comic book movie, viewers are expected to go along with this unrealistic aspect of the story.

Venom constantly craves human flesh, and Eddie will only allow Venom to eat criminals. Eddie hasn’t encountered any criminals lately, so he’s been feeding a steady diet of live chickens to Venom. In the movie, Venom constantly complains about being tired of eating chickens. “Venom: Let There Be Carnage” keeps going back to this questionable well of jokes until it runs dry and becomes cracked to the point of irritation.

Every superhero movie has a villain. In “Venom: Let There Be Carnage,” the chief villain is Cletus Kasady (played by Woody Harrelson), a convicted serial killer who is awaiting his sentencing while he’s in prison. Law enforcement officials think that Cletus has killed more people than has been proven in court, and they want Cletus to tell them where the bodies are before he gets sentenced. In the media and in the public, people have been speculating if Cletus will get the death penalty or not.

Eddie is doing a story on Cletus, so he goes to the prison to interview him multiple times. Cletus doesn’t give Eddie any useful information, but he does get angry during one of the interviews and bites Eddie hard enough to draw blood. Cletus immediately notices that Eddie’s blood doesn’t taste completely human.

And you know what that means: Cletus has been infected with the same DNA that Venom has. And so, red-haired Cletus finds out that he has a red demonic alien inside of him. That creature is called Carnage. You can do a countdown to the inevitable battle scene between Venom and Carnage toward the end of the film.

In the meantime, “Venom: Let There Be Carnage” has some filler scenes involving Eddie’s love life. In “Venom” (mild spoiler alert if you haven’t seen the movie), Eddie was engaged to district attorney Anne Weying (played by Michelle Williams), but she broke up with him at the end of the movie. Anne became so disillusioned with law enforcement after her experiences with Eddie/Venom, she left the district attorney’s office and began working in the non-profit sector.

In “Venom: Let There Be Carnage,” Eddie is still nursing a broken heart about Anne, who wants to be on friendly terms with Eddie. They meet for dinner, where she tells him that she’s now engaged to be married to another man. His name is Dr. Dan Lewis (played by Reid Scott), who’s somewhat wimpy and gets nervous easily. He’s exactly the type of person you know is going to get stuck in some battle scenes later in the movie.

Cletus has his own lovelorn woes. In the 1996 flashback scene in the beginning of the movie, it’s shown that teenage Cletus (played by Jack Bandeira), who was a problem child from an abusive home, was sent to live at the co-ed St. Estes Reform School. At the reform school, Cletus met and fell in love with another student named Frances Barrison (played by Olumide Olorunfemi), who is nicknamed Shriek because whenever she gets upset, she shrieks loud enough to cause unnatural destruction. During their romance, Cletus gives Frances a ring and calls her “my angel.”

However, the destruction that Frances has caused is enough to get her sent away to a psychiatric institution for criminals. Cletus is distraught over this separation. Before Frances leaves, he tells her, “They can’t take you away from me! You’re my one bright light!”

In the police van that is transporting Frances to the psychiatric institution, she is being guarded by a young cop with the name tag P. Mulligan (played by Sean Delaney), who foolishly doesn’t have a partner with him as backup. It wouldn’t matter much anyway, because Frances does her shrieking with such force that it causes the the van to crash, and she escapes.

This movie is so sloppily written that it’s mentioned later in the story that most people who knew Frances believe that she is dead, even though her body was never found. It would make more sense to have her described as a missing person. But then again, if Cletus thought she was missing and not dead, he wouldn’t be so heartbroken.

Frances is really alive, of course. As an adult (played by Naomie Harris), she’s being secretly held captive by the government for experiments. Frances is deliberately mute while in captivity, but there comes a point in the movie where she finally does talk. Not that it makes much of a difference, because the dialogue she’s given is absolutely idiotic and forgettable.

Eddie lives near a convenience store. And for some weird reason, “Venom: Let There Be Carnage” wants to make the convenience store’s owner/sales clerk Mrs. Chen (played by Peggy Lu), who had a cameo in the first “Venom” movie, into some kind of wisecracking foil to Eddie/Venom, similar to Ken Jeong’s Mr. Chow character in “The Hangover” movies. However, the “jokes” that Mrs. Chen utters just aren’t very good. Everything about the “comedy” in this movie is extremely simple-minded, like something you might see in a children’s cartoon, not a live-action superhero movie where adults are the majority of the audience.

The rest of “Venom: Let There Be Carnage” plays out exactly like you’d expect it to play out, because it does exactly what many other mediocre-to-bad supermovies have already done in the story arc and battle scenes. “Venom: Let There Be Carnage” is like the 2018 “Venom” movie on meth: It’s filled with the loud scatter-brained nonsense, gibberish dialogue and repetitive hyperactivity—resulting in one giant, annoying headache. The pace of the “Venom: There Will be Carnage” doesn’t drag like “Venom” did, but there’s no real suspense either.

Except for Harrelson, none of the actors seems to have any enthusiasm or genuine emotional connection to their roles. Maybe because it’s too hard to get excited when you have to say such moronic lines of dialogue. British actor Hardy (who’s a producer of the movie) looks like he’s going through the motions to collect his financial payout.

And even though Eddie is supposed to be American, Hardy’s natural British accent can occasionally be heard in the dialogue. Hardy has mastered American accents in several of his other movies where he portrayed an American. The fact that he has flaws in his American accent in this movie is an indication that he’s not artistically committed to the Eddie Brock/Venom role, and this “Venom” franchise is probably more about the money for him. Hardy and Williams still have no believable on-screen chemistry together, either as a couple, a former couple, or as friends.

The cop who was with Frances when she made her 1996 escape has now been promoted to detective. (His first name is not mentioned in the film.) Detective Mulligan (played by Stephen Graham) is as generic as generic can be. Detective Mulligan plays a fairly prominent role in the movie, which is so badly written that Detective Mulligan puts himself in many dangerous situations without having a cop partner as a backup. Keep in mind, this isn’t a small-town police force. This is supposed to be the San Francisco Police Department.

“Venom: Let There Be Carnage” does not have an end-credits scene, but there’s a mid-credits scene that suggests there will be a movie where Venom will eventually interact with Spider-Man, who is Venom’s nemesis in the Marvel comic books. It would be the first time that Venom and Spider-Man will be seen on screen together in a live-action movie. However, the tone of the “Spider-Man” movies (high-quality action) and the tone of “Venom” movies (low-quality schlock) are so vastly different from each other, it will be a challenge to bring Venom and Spider-Man together in live-action movies without sacrificing some credibility in trying to merge these two very different worlds.

It’s why the “Venom” movie franchise does a disservice to other Marvel Comics-based movies where there’s potential for Venom to cross over into these other Marvel movie franchises. The way that the filmmakers and film studios treat any Venom crossovers into other Marvel movies will be have to be treated just like chefs who have to prepare a meal with incompatible ingredients. Using that meal analogy, for people who want superhero movies that deliver an interesting and creative story, “Venom: Let There Be Carnage” just leaves a bad taste in your mouth.

Columbia Pictures will release “Venom: Let There Be Carnage” in U.S. cinemas on October 1, 2021.

Review: ‘Capone,’ starring Tom Hardy, Linda Cardellini, Noel Fisher, Jack Lowden, Matt Dillon and Kyle MacLachlan

May 12, 2020

by Carla Hay

Tom Hardy in “Capone” (Photo courtesy of Vertical Entertainment)

“Capone”

Directed by Josh Trank

Culture Representation: Taking place in Miami Beach in 1947, the drama “Capone” has a predominantly white cast (with some Latino representation) and tells the story of the last year in the life of notorious mobster Al Capone.

Culture Clash: Suffering from neurosyphilis, a demented Capone has flashbacks to his gangster life and has conflicts with family members over his failing health.

Culture Audience: “Capone” will appeal mainly to people who are fascinated with famous American mobsters, but this incoherent movie gives little insight into Capone’s last days.

Tom Hardy in “Capone” (Photo courtesy of Vertical Entertainment)

Just like the way that the title character acts in the movie, the dramatic film “Capone” is a lumbering, stumbling mess that has trouble focusing and has difficulty finding a purpose. Tom Hardy, who seems to be attracted to playing a lot of menacing characters who mumble a lot, is notorious Chicago gangster Alphonse “Al” Capone in the film. The once-powerful mob boss is a shadow of his former self in the last year of his life in 1947, when Capone was a 48-year-old recluse with neurosyphilis at his mansion in Miami Beach.

“Capone” (written, directed and edited by Josh Trank) is basically a 103-minute slog through various scenes of Capone (who insists that people call him Fonz, not Al) either hallucinating, having angry outbursts, or losing control of his bodily functions. Hardy—in grotesque makeup that makes him look like something out of a horror movie—gives it his best shot at delivering an earnest performance of Capone on a downward spiral, physically and mentally. But, unfortunately, the film is so poorly written and directed that “Capone” will be considered one of the low points of Hardy’s career.

There is no real plot to the movie, which takes place almost entirely at the mansion where Capone (released early from prison for tax evasion) is holed up with his loyal wife Mae (played by Linda Cardellini) and employees, including his main goon Gino (played by Gino Cafarelli). Instead of having a coherent story, the movie is supposed to be more like a fever dream that culminates in a machine-gun massacre that didn’t happen in real life.

At different parts of the film, Capone has visions of himself as a child. And there are scenes of him having elaborate dinners with relatives that include his son Junior (played by Noel Fisher), who spends most of the film looking mournful over his father’s pathetic decline. Throughout the movie, a character named Tony (played by Mason Guccione), who’s supposed to be Capone’s long-lost son, keeps calling from Cleveland. Sometimes, Tony talks on the phone when he calls, and other times he calls and says nothing. Yes, it’s that kind of movie.

There’s a character named Dr. Karlock (played by Kyle MacLachlan), who occasionally comes to visit and fret about Capone’s declining health. When the doctor tells Capone’s relatives that cigar-loving Capone has to give up smoking, the relatives act as if the news is as bad as getting a limb amputated. The doctor suggests that Capone chew on a carrot as a substitute for a cigar, and Dr. Karlock demonstrates how it can be done. In response, Gino mocks the doctor for looking like Bugs Bunny. However, for the rest of the movie, viewers will see the bizarre spectacle of Hardy trying to look tough with a carrot in his mouth.

There’s also a laughable scene where Capone is watching “The Wizard of Oz” in a private screening room, when he gets up and sings along to the Cowardly Lion song “If I Were King of the Forest.” In the scene, Cardellini has a hard time keeping a straight face. And most people watching will either laugh or be horrified that Hardy (who’s capable of doing Oscar-caliber work) sunk this low to do this poor-quality film that’s so bad, it’s almost campy.

Capone also has a friend who comes to visit named Johnny (played by Matt Dillon), whose history with Capone isn’t really explained, except that it’s implied that they’ve known each other since before he was in prison. And they know each other well enough for Capone to confide in Johnny while they’re on a fishing trip that Capone has $10 million hidden, but he can’t remember where he hid the money.

But is this real or all in Capone’s head? That question can be asked about many things in the movie. While Johnny drives the car that they take to the fishing trip, Capone is disguised as a woman because he’s paranoid about the government agents who are on his property and watching his every move. If the world needed to see a movie with Capone in drag, you now have writer/director Trank to thank for that.

Trank, by the way, cast himself in “Capone” in a cameo as a FBI agent named Clifford Harris, who accompanies another FBI agent named Stone Crawford (played by Jack Lowden) when they visit the ailing Capone at his home. The FBI agents are on a fruitless quest to get Capone to reveal the secret places where he might have hidden a fortune worth millions. Capone’s attorney Harold Mattingly (played by Neal Brennan) sits in on this pointless interview, and answers most of the questions on behalf of Capone, who can barely grunt answers to the questions.

And then there’s Capone’s nasty temper. He yells at the Latino employees who do yard work on his property, and shouts at one of them that if this servant touches a certain statue, Capone will blow the employee’s head off. While on the fishing trip with Johnny, Capone shoots an alligator for “stealing his fish.” And something as simple as seeing Gino eating at the dinner table is enough to set off Capone, who flings the tablecloth and food, and stomps around and howls like a gorilla that’s been stung by a bee.

Capone is also abusive to his wife Mae. When he spits on her, she hits him so hard that he falls down and hits his head on a hard-surface floor. There’s no purpose to this scene, except to put some of the blame on Mae for the head injury that further causes Capone’s mental deterioration. Like many things in the movie, do not assume that any of it happened in real life.

And that’s not all the violence in the film. Capone has flashbacks or hallucinations about fatal shootings and brutal stabbings. There’s also a scene where he hallucinates that Johnny has pried his own eyes out and served the bloody eyeballs to Capone on a bedsheet. What’s the point of all this gore? Nothing, really, except to remind people that this is supposed to be a movie about a gangster.

Even the most die-hard fans of Hardy will have their patience tested by watching this mindless film, which has moments that are downright embarrassing to everyone involved in the movie. One can only assume that Hardy was attracted to this “Capone” role for a chance to play dress-up as one of the most famous American mobsters of all time. But he’s reduced to being a grunting, marble-mouthed caricature that can barely put a thought together. The movie has no impactful flashbacks that show Capone in his prime, except for a silly scene that has Capone imagining himself at a party where he gets up on stage with the band leader to sing Fats Domino’s “Blueberry Hill.”

The blame for this sewage dump of a movie lies mostly with writer/director/editor Trank, whose previous film was the 2015 remake of “Fantastic Four,” another stagnant and messy flop. An epilogue in “Capone” says that most of Capone’s relatives changed their names after he died. After making the disastrous “Capone,” Trank might want to think about changing his name too.

Vertical Entertainment released “Capone” in select U.S. virtual cinemas and on digital and VOD on May 12, 2020.

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