Sony’s third Venom installment evokes a sense of nostalgia for the days when comic book films were brief and playful.
Although Sony’s previous standalone Venom films were not considered cinematic masterpieces, their unique combination of Odd Couple humor and a lack of graphic violence positioned them in the realm of so-bad-they’re-kinda-fun. The prospect of a Venom film—much less a franchise—seemed unlikely without the inclusion of Spider-Man. However, the commercial success of these films indicated that Tom Hardy’s portrayal of the lethal protector resonated with audiences, effectively paving the way for a third installment.
“Venom: The Last Dance,” written and directed by Kelly Marcel, does not surpass or fall short of its predecessors. It appears to adhere to familiar narrative elements that it can execute effectively. Rather than exploring the multiverse for crossover excitement, the film focuses on the franchise’s strengths, primarily examining the complexities of a long-term relationship. While “The Last Dance” may not fully realize the intriguing comic chaos that Sony has hinted at, it does provide a fitting conclusion to this absurd and gory adaptation.
Despite the chaotic nature of the first two Venom films, they presented a relatively clear narrative of how disgraced journalist Eddie Brock (portrayed by Hardy) faced upheaval in his life due to the arrival of Venom (also played by Hardy), one of several parasitic aliens that landed on Earth. Unlike other symbiote-host relationships that ended tragically, Eddie and Venom’s bond strengthened over time, allowing them to find purpose in their shared existence. They encountered conflicts and emotional challenges, yet they consistently managed to reconcile when confronted with new, lethal threats. “The Last Dance” continues the story shortly after “Let There Be Carnage,” which concluded with a cliffhanger in an alternate dimension.
Initially, it appears that the film is leveraging its multiversal ties to the MCU to shift away from its narrative history and embark on a new journey within a realm populated by Marvel-branded superheroes. However, The Last Dance opts to concentrate on the significant developments that have transpired for Eddie and Venom in their universe during the surprisingly brief period they have been together. Particularly following the events of Deadpool & Wolverine, The Last Dance’s approach to the multiverse feels refreshingly defiant, suggesting that Sony and Marvel—who also penned the first two Venom installments—are intent on maintaining a distinct focus, akin to that of Madame Web.
While fans may yearn to witness Venom engaging with Spider-Man in New York, this is not the trajectory that the franchise has been cultivating (at least for now). These films center on a beleaguered individual striving to piece his life together with the assistance of a wise-cracking symbiote that craves human brains. The Last Dance concludes Eddie and Venom’s narrative by addressing the repercussions of their previous escapades.
As the film opens, the government has finally recognized the numerous peculiar deaths and symbiote-related incidents linked to Eddie, who finds himself on the run in Mexico. It appears that there is no refuge for Venom and Eddie, as special-ops soldier Rex Strickland (Chiwetel Ejiofor) and his team are relentlessly pursuing them. Nevertheless, the duo somewhat implausibly believes they might evade capture by disappearing into the shadows of New York City.
Given that this film represents the climax of a trilogy, the fugitive elements of The Last Dance’s storyline (which Hardy contributed to) possess a logical foundation. After detonating a rocket in Venom and birthing a new serial killer symbiote in Let There Be Carnage, it is reasonable that Eddie and Venom would become prominent targets necessitating a retreat from public view. However, it becomes increasingly challenging to trace the narrative thread woven throughout The Last Dance’s overarching plot.
The Last Dance, much like Let There Be Carnage, introduces its character Cletus Kasady through a dense exposition of lore. In a similar fashion, the film endeavors to elucidate the backstory of the symbiote god Knull (Andy Serkis) via a CGI-laden segment derived from the comics. Knull, the creator of the symbiotes, was ultimately betrayed by them, as they imprisoned him at the core of their homeworld. After eons of confinement and contemplation on how to exact revenge on his parasitic offspring, Knull comes to the realization that the unique bond between Eddie and Venom has produced the necessary element to liberate him. There is a certain irony in The Last Dance’s opening act, which includes a Thanos joke, while simultaneously attempting to establish Knull as its own formidable antagonist. The film frequently emphasizes Venom’s fear of Knull, aiming to portray the alien villain as a persistent threat lurking in the cosmos. However, Knull’s scheme—utilizing Doctor Strange-like portals to dispatch various monsters to retrieve items for him—feels contrived, suggesting that his inclusion in The Last Dance stems from a limited roster of Venom-related characters that Sony possesses cinematic rights to.
This sense of “scraping the bottom of the barrel” intensifies as The Last Dance introduces additional symbiotes, whose names remain unmentioned but may be recognizable to comic enthusiasts due to their distinctive color schemes. Although Knull’s alien minions are visually impressive and menacing, the perceived danger they embody feels insubstantial, as the film is aware that it cannot afford to eliminate its emotional core.
As with previous installments, Hardy’s portrayals of Eddie and Venom serve as the film’s primary strength, contingent upon one’s appreciation for whimsical slapstick humor. Despite his accent remaining somewhat inconsistent, Hardy effectively conveys a sense of weariness in Eddie, which resonates with the character’s experience of coexisting with an alien presence for approximately a year.
Despite its lackluster plot, poorly developed supporting characters, and subpar visual effects, Venom: The Last Dance nearly succeeds when it focuses on the antics of Eddie and Venom or their reflections on their shared experiences. However, this is insufficient to elevate the film to a commendable standard, and it is evident that the Venom franchise has not prioritized quality in its offerings. Sony appears unwilling to alter its established approach at this stage. For those who enjoyed the chaotic nature of Let There Be Carnage, The Last Dance may provide some mild amusement. Conversely, for viewers who have struggled to comprehend Sony’s continued production of these films, the primary attraction seems to be the indication that the studio may be winding down its efforts—at least for the time being.
Venom: The Last Dance features performances by Juno Temple, Rhys Ifans, Peggy Lu, Clark Backo, Cristo Fernández, and Stephen Graham. The film is set to be released in theaters on October 25th.
