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Movie Review

Venom: Let There Be Carnage is one blunder after another

Alex Bentley
Sep 30, 2021 | 2:34 pm
Venom: Let There Be Carnage is one blunder after another
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Of all the various comic book characters to get their own showcase during the superhero era, Venom has to be one of most unlikely.

The character first popped up as a villain in 2007’s Spider-Man 3 with Topher Grace as Eddie Brock/Venom, but made little impact because of the quality of the film and Grace’s performance. Tom Hardy took over the role in 2018’s Venom, a poorly reviewed but hugely successful film that took in $856 million worldwide.

That box office — and an end credits teaser featuring Woody Harrelson — ensured there would be a sequel, which now arrives with the somewhat clunky title, Venom: Let There Be Carnage.

After unsuccessfully trying to purge the symbiote Venom from his system in the first film, Eddie Brock spends his days mostly trying to satisfy the never-ending hunger of Venom. He halfheartedly accepts an assignment to interview Cletus Cassidy (Harrelson), a murderer who’s set to be executed.

That visit proves disastrous, however, as an altercation allows Cletus to get a bit of Eddie’s blood, transforming him into Carnage. Cletus/Carnage proceeds to escape and go on a destruction spree, all while searching for his long-lost love, Frances/Shriek (Naomie Harris), who spent time with him in an institution. Naturally, only Eddie/Venom will be able to protect the city and those he loves, including former fiancée Anne (Michelle Williams), from the vicious pair.

Directed by Andy Serkis and written by Kelly Marcel, the film is an incoherent mess from beginning to end. It’s clear that Venom is supposed to be a funny character, with his insatiable appetite and inappropriate comments, but the way he’s presented is far from entertaining.

Much of this has to do with the god-awful CGI; perhaps having a being that’s constantly coming out of and surrounding the lead character was always going to be tough to present, but it’s still shocking just how bad it is.

Even worse than the imagery is the complete lack of an interesting story. Hardy has a story credit and serves as one of the producers for this film, so he was clearly invested in trying to make it good. But he, Marcel, and Serkis failed miserably, serving up a bland, confusing storyline and allowing Harrelson and Harris to overact shamelessly. Save for a couple of mildly humorous one-liners, the script does nothing to liven things up, either.

It’s strange that Hardy was chosen to play this role, as he doesn’t seem to have the energy that Eddie is supposed to have. Hardy has mostly been known for his intensity in films like Inception, The Dark Knight Rises, and Mad Max: Fury Road. Watching him try to be reserved, twitchy, and a little goofy is painful, as his natural demeanor is not a good fit for those traits.

As previously mentioned, Harrelson and Harris go way over the top in their respective roles, and even though they’re the villains of the film, their lack of restraint is galling. Williams — who, it should be noted, is a four-time Oscar nominee — is once again wildly out of place, and even she can’t save her nothing of a role.

Venom: Let There Be Carnage is even worse than the dog of a film that was the original. I’d love to say that this is the last we’ll see of the character, but an end credits teaser strongly hints at a return very soon. Maybe that appearance will make him enjoyable, but I doubt it.

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Venom: Let There Be Carnage opens in theaters on October 1.

Tom Hardy in Venom: Let There Be Carnage.

Tom Hardy in Venom: Let There Be Carnage
Photo courtesy of Sony Pictures
Tom Hardy in Venom: Let There Be Carnage.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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