Venom: Carnage's fury proves that we are always our own worst enemy

Venom

The second chapter of the adventures of the alien symbiote is violent, macabre and hilarious. But he is also very chaotic and perhaps too concise, while he has not yet understood what he really wants to be in the larger superhero universe

The first sensation, after the credits of Venom: The Fury of Carnage, from 14 October in Italian salt, is: but is it already finished? Accustomed as we are to cinecomics (and blockbusters in general) that must be sent at around three hours in length, this sequel to the 2018 film with Tom Hardy also amazes because it condenses many things into just 91 minutes, which is both an advantage and a defect. . On the one hand, in fact, we manage to have a condensation of what we had already appreciated in the first chapter (crazy action scenes, a complex dynamic between the protagonist and his symbiote, a macabre and grotesque humor), indeed all taken to the extreme consequences, but on the other hand it is even easier to realize how much these cinecomics can have very little substance if it is essentially reduced to a destructive chaos in CGI.

In this new story, written by screenwriter Kelly Marcel together with Hardy himself, journalist Eddie Brock and the alien parasite that inhabits him have a complicated relationship, similar to that of two roommates who can't stand each other (c ' it is also those who have seen queer subtexts, which frankly, however, are rather daring and leave the field more to a bizarre bromance). Tired of the man's lack of ambition, even towards his ex-girlfriend Anne (Michelle Williams) who is about to remarry, the creature provides the journalist with the scoop of life but also complicates the relationship that the reporter has with serial killer Cletus Kasady (Woody Harrelson). Kasady will even become infected with the parasite, transforming into the monstrous Carnage (redder, more violent and more psychopathic than the already extreme Venom), who will go in search of his beloved Shriek (Naomi Harris) and sow panic in San Francisco with his plans of revenge.



The most intriguing heart of the film lies precisely in this dualistic relationship between Eddie and Venom, destined to be with each other (one in the other) but also very different Between them. Their difficult coexistence is also a greater metaphor of the film's themes, where all the characters are somehow willy-nilly thrown into a desperate race towards self-destruction. Hardy is still admirable in the double interpretation of him: Venom's shrewd comments, spoken in a lower, hoarse voice, often surprise viewers, even if perhaps the Italian dubbing struggles to keep up with the original rhythm. But it's the villains who steal the show, once again, from an acting standpoint: Harrelson somehow reclaims his part in Born Killers to give her a more flamboyant look, while Harris is truly extraordinary in playing a woman who goes crazy. of anger when everyone tries to deprive her of their voice.

Beyond the characterization of the characters, however, it must be said that little remains to be said about the film: the plot points follow one another very quickly up to a long final battle that brings into play all the passion that director Andy Serkis (the Gollum of the Lord of the rings who later went on to direct films like Mowgli) has for hybridizing human action with computer graphics. Chaos, destruction and despair reign supreme for much of the film which then ends in a simple axiom: we would all like to be understood by others but it is precisely the choices we make that make us incomprehensible. The fact remains that Venom: Carnage's Fury is a perfect concentrate of what is expected of a cinecomics that, by its very nature, is more mature and macabre (and even more fun) than many counterparts in the Marvel Cinematic Universe. br>


And the difficult relationship with the greater Marvel universe is perhaps the umpteenth complication that gets in the way of this film. Produced by Sony but in association with Marvel (in these terminologies which are the result of fierce legal agreements), it is certainly a film project in its own right but goes out of its way to suggest that the superhero world out there is much broader: there is a location that screams X-Men from all sides, there is yet another clue of a character who will become a possible villain in the future and there is obviously that post-credits scene impossible to reveal without spoilers but which will have important consequences, yes assumes, about the films to come. As in the Eddie-Venom combination, Carnage's fury is a hilarious and hungry bomb ready to explode at any moment, even if it may not have understood exactly what it wants to be and above all what are the full potentials it can push itself to.


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