why you liked venom and the critics didn't

Seeing venom is an interesting experience. For a person who has been studying filmmaking for awhile but knows how to not be a stick in the mud and just enjoy a film, the the best summary I can give is this: 

From a pure entertainment perspective, it’s fun. 

From a pure filmmaking perspective, its not that great and in some areas, awful. 

This is why we got reviews like this from critics:

and reviews like this from fans:

So the viewership responds like this: 

From a bigger perspective, this is why people have been upset by the movie industry, that it’s out of touch, that reviews don’t reflect the viewers, and the oscars don’t actually include films everyone watched:

When you listen to songs, you listen based on what you enjoy hearing. Even if there are critics that pan the album or music specialists with PhDs that say it was poorly made, if a song makes you feel good you like it. 

But with films there is a sort of elitism that in order to be seen as having good taste you need to like certain important films, and agree with the critics and those with PhDs in films on what is good and bad. You watch a film based on what the critics say, but you might not do that with a song. In reality, what should matter is knowing what you’re interested in and enjoying it because it makes you feel good. 

Originally posted by adventurelandia

So, that is why I said Venom is fun yet not great at the same time: because for someone (like film enthusiasts, filmmakers, etc.) who knows about the technical side of a film, that can see and cares about the shots, lighting, editing, writing, and more, Venom was not very well made, especially to the caliber of some of the more recent superhero films of the same genre. 

But did you walk out of the theater happy? Did you laugh? Did you like the story? Maybe it didn’t change you or have a hugely important message (and those sorts of films are v important too), but if you had fun, that’s what matters. 

I have more nuanced opinions on this film and the movie industry in general, but I’m keeping it simple here. For a movie critic, they have to balance the fun and take into account the cringe-ness in terms of filmmaking. So you get a review like this:

Tl;dr: you liked it because it was fun, they might have hated it because it wasn’t so great from the technical side, but you can do both and still enjoy a film, because in the end a good film is what makes you happy. 

Scene Transitions

An important part of structuring your story in any format is the transition between scenes. When not handled properly, time and/or location jumps in a narrative can become disorientating and confusing, making it harder for the audience to keep up with the action. There are three important things to focus on when transitioning between scenes: where the first scene ends, where the second scene begins, and how to connect the two.

It’s important that each scene have closure. When you leave a scene, you need to know that the goal of that scene was reached. If you leave the scene too early, before you receive that closure, your audience will be left hanging, feeling unsatisfied and off balance. You need to ‘cut away’ when the scene comes to its natural end, when everything is understood and the audience is ready to move onto the next idea. If you leave the scene too late, it drags your story, and makes it feel like the scene is longer than it is.

As with the end of a scene, the beginning of a new scene must feel natural. If you have to backtrack immediately after starting your scene in order to explain whats going on, then it means you’re not starting at the beginning of the scene. You can sometimes get away with doing this, if the reflection is placed naturally in the writing, but you shouldn’t try and push your luck. If all of your scenes start with an immediate backpedal to explain where everyone is, how they got there, and when it takes place, then you need to go back and fix some things.

Information about the change in time and location are important to include. If you didn’t, then it would be impossible for the audience to tell if, when or how these changes occurred. The most widely accepted way of transitioning between scenes is to detail the things done by the characters to go from scene A to scene B. They can do so by showing the transition between locations (“They walked the distance to the theatre, laughing the whole way”), points in time (“hours passed as she sat reading in her favorite chair”), or combinations of the two (“they drove for days, the grassy hillsides of home growing into a looming mountain range”). The information in the transition must do everything to set up the new scene that’s starting.

I am going to use a segment from “These Shallow Graves” by Jennifer Donnelly as an example of what not to do when transitioning between scenes. In chapter thirty-four, a scene is ending where the protagonist and her love interest meet secretly during a ball and make a plan for her to sneak out later that evening. The scene ends on an angsty moment as they both watch her almost arranged fiance dancing with the competitor for his affections. Chapter thirty-five immediately begins with the two of them having met up and halfway to their destination. It is then explained how the protagonist had left the party early, snuck out, and made it to the meeting point.

Feels kinda jenky huh? Here’s how we could smooth this out.

Their plan for meeting up that evening involves the protagonist telling her uncle (who an attendee) that she is feeling faint and using that as an excuse to leave the ball early. This would make more sense as a place to end the scene as it signals the beginning of the transition between locations. When she sneaks out the house is a good place to officially begin the next scene, as it signals another change in locations. Because the time spent at the protagonist’s home is not important to the overall story (her waiting for everyone to fall asleep) this could serve as the transition between the scene of the first and the scene of the second meetings. The cab ride from her house to the meeting place is also its own small transition, and is a good place to reflect on past information without interfering with anything else going on (such as dialogue and bonding between love interests).

Remember! All of the important things to keep in mind when writing scene transitions are:
Know where to end a scene.
Know where to begin a scene.
Know how to connect the scenes.