>>103703939>While granted, we should abstain from nitpicking too much about a movie with an angry faced alien suit that has a silly name, I'm with him on this. It's like trying to suspend belief about a space station orbiting really fucking close to the damn sun.If it makes sense in teh context of the movie, and serves the plot, it's fine, it does in this case, I do not agree.
>With you on arguing about how symbiotes can live on a comet. That's just alien shit, we can go with that. The WINDOW OF OPPORTUNITY though would've been a great way to establish that they can't so easily get those fucking aliens back to earth to study.We establish that tehy're not easy to come by, and that they want to keep them alive, we don't know if tehy can get mroe or make more, but they are determined to keep what they get. So there's no real way for t hem to go back to the comic. The ship at the end is going to, I think riot said, the home planet. Or at least somewhere Riot could let off a signal that the hom planet could get and tehn follow him back here.
>So, essentially, audience headcanon is needed to fill in the very essential, plot driving blanks the movie refuses to fill in itself.No, it's called subtext, that's like saying under the skin doens't have any kind of narrative because they don't explicitly tell you. However what I'm refering to here is something like, Venom's face turn, the symbiote names, the dog possession (which is explained via showing the audience), how teh suit was able to posses his wife.
Venom's face turn is sorta shallow but believable, I was saying the cut scenes probably would've made it more solid than it already was, which was servicable and fine for the plot. The dog thing was explained through Riot's china adventure, but it was a shitty plot line that should've been cut, Anne's using the suit was rather strange and is a plot hole, but it's not too huge and agin I think this one was another editorial problem.
