The anticipation for “Venom: The Last Dance” was palpable. After two previous installments that, while flawed, offered a unique and often humorous take on the symbiote anti-hero, fans were eager to see how Eddie Brock and Venom’s story would conclude. However, as the credits rolled on this trilogy-capper, a sense of disappointment lingered, prompting a critical re-evaluation of Sony’s Spider-Man Universe and its direction. Coming from the studio that brought us cinematic missteps like “Morbius” and “Madame Web,” perhaps expectations should have been tempered. Yet, holding onto a sliver of hope, especially given the entertaining aspects of the prior “Venom” films, seemed reasonable. Sadly, “Venom: The Last Dance” feels less like a celebratory send-off and more like a studio scrambling to connect disparate threads in their sprawling universe.
Revisiting “Venom” (2018) and “Venom: Let There Be Carnage” (2021) before diving into “The Last Dance” revealed a consistent pattern. Both earlier films were saved from mediocrity by Tom Hardy’s committed and dual performance as Eddie Brock and the voice of Venom. The original “Venom” was a film of two halves – a sluggish beginning giving way to a more dynamic second act, featuring serviceable action and Hardy’s engaging performance, even if the villain, Carlton Drake/Riot, played by Riz Ahmed, was forgettable. “Let There Be Carnage,” surprisingly, improved upon its predecessor, leaning heavily into the comedic dynamic between Brock and Venom, allowing Hardy to truly shine. Woody Harrelson’s gleefully villainous Cletus Kasady/Carnage added another layer of entertainment, overshadowing even the underutilized Naomie Harris as Frances Barrison/Shriek. These films, while not masterpieces, understood their strengths: Hardy’s performance and a relatively straightforward narrative. “Venom: The Last Dance,” unfortunately, veers sharply in the opposite direction.
It’s crucial to acknowledge the flickers of positivity before delving into the shortcomings. To be clear, “Venom: The Last Dance” isn’t a cinematic catastrophe of epic proportions. It manages to avoid the absolute bottom tier of superhero films, and certainly isn’t the worst movie released this year.
Tom Hardy, against all odds and despite a noticeably weak script, still manages to inject moments of brilliance into his portrayal of Eddie Brock and Venom. While the unbridled comedic energy of “Let There Be Carnage” is dialed down, Hardy’s dedication to both roles remains evident. He strives to elevate the material, even when the screenplay seems determined to hold him back.
The supporting cast also delivers commendable performances, with Chiwetel Ejiofor as Orwell Taylor being a particular standout. Ejiofor consistently brings a commanding presence to the screen. Whether it’s Baron Mordo in the “Doctor Strange” films or the enigmatic Bathurst 2020 in the less memorable “Infinite,” Ejiofor elevates every project he’s involved in. He provides gravitas to “Venom: The Last Dance,” even when the narrative falters around him.
Visually, the film is striking. The CGI rendering of Venom and the various symbiotes is genuinely impressive, building upon the already strong visual foundation laid by the previous “Venom” movies. The creature design and animation are top-notch, making the alien entities believable and visually engaging.
The action sequences, while not consistently thrilling, have their moments. The “Venom” franchise has generally delivered enjoyable action set pieces, and “The Last Dance” offers glimpses of this, particularly in the initial action scene which is genuinely exciting.
The film also attempts to explore some novel uses of the Venom symbiote. As teased in the trailers, Venom controlling a horse is indeed a highlight, and the movie expands on this idea, showcasing Venom inhabiting other creatures. The introduction of new symbiotes also adds a layer of intrigue, hinting at a wider mythology.
Sadly, the list of positives largely ends there.
The core dynamic between Eddie Brock and Venom, the heart of the previous films, feels strangely muted in “Venom: The Last Dance.” While Hardy tries his best, there are moments where his performance seems to lack the spark of previous outings, almost mirroring the weariness that occasionally creeps into Eddie Brock’s character. It’s a subtle but noticeable shift.
The introduction of new characters feels perfunctory and underdeveloped. Juno Temple’s Dr. Payne is a prime example, serving little narrative purpose beyond voicing a naive belief in Brock’s harmlessness, contrasting with Ejiofor’s more pragmatic character who understands the broader alien threat originating from Knull.
Speaking of Knull, the cosmic symbiote god, his portrayal is arguably a step down from even the weak villain of the first “Venom” film, Carlton Drake. Knull is relegated to sending generic alien minions to retrieve a MacGuffin in Venom’s possession. Despite hints at a rich comic book lore, the film reduces Knull to a shadowy, unimpactful presence. The villains become a confusing mix of Knull’s alien forces and Area 51 agents, creating a sense of both overstuffed and underwhelming antagonist presence.
Stephen Graham’s Detective Mulligan suffers a similar fate. Promotional materials suggested a significant role for Mulligan, potentially hinting at a symbiote transformation and a deeper involvement in the overarching plot. However, Mulligan’s contribution is limited to a brief symbiote reveal and a warning about Knull, before fading into narrative obscurity.
The comedic element, a defining characteristic of “Let There Be Carnage,” is significantly diminished in “The Last Dance.” Where its predecessor was genuinely funny, eliciting frequent laughter, “The Last Dance” manages only a handful of chuckles. Outside of the Venom-horse sequence and some sporadic banter between Brock and Venom, the film largely abandons the comedic tone that worked so well before.
Compounding the lack of comedy is a surprising absence of emotional depth. The underdevelopment of Brock and Venom’s relationship, combined with the sheer number of underutilized characters, prevents any genuine emotional connection. Even when the film attempts to raise the stakes to a world-ending level in its climax, the emotional impact is negligible. The audience is left feeling detached, unable to invest in the characters or their plight.
While the previous “Venom” films, despite their flaws, provided a degree of entertainment, “Venom: The Last Dance” struggles to even reach that low bar. In an era increasingly defined by “superhero fatigue,” this trilogy conclusion fails to offer anything genuinely new or exciting. Isolated moments of intriguing concepts and standout scenes are ultimately insufficient to rescue a film that feels like a missed opportunity and a disappointing end to a once-promising franchise.
From a technical standpoint, “Venom: The Last Dance” achieves a passable 6/10. Ignoring the weak plot and underwhelming screenplay, the visual effects are indeed exceptional, the acting is generally solid, and the film functions as a technically competent, if uninspired, piece of filmmaking.
However, when considering pure enjoyment, the score plummets to a 4/10. Hopes for a satisfying conclusion, fueled by the surprising improvement of “Let There Be Carnage” over the original, are dashed. “Venom: The Last Dance” is undeniably the weakest entry in the trilogy, echoing the pitfalls of films like “Spider-Man 3” and “The Amazing Spider-Man 2,” yet lacking even their campy entertainment value. It’s a genuinely disheartening conclusion, leaving one to hope that a future rewatch might somehow reveal hidden depths. As it stands, the most prudent recommendation is to await its arrival on streaming platforms like Netflix or Disney+.
