The hype for “Venom: The Last Dance” was real, fueled by a thrilling official trailer that hinted at a spectacular conclusion to Eddie Brock and Venom’s symbiotic journey. After the missteps of previous Sony’s Spider-Man Universe (SSU) installments like “Morbius” and “Madame Web,” hope remained that “The Last Dance” could redeem the franchise, or at least provide a satisfying send-off for the beloved anti-hero duo. Having enjoyed the prior “Venom” films, I entered the theater with cautious optimism, eager to see if Sony had finally learned from past mistakes. However, post-viewing, the question lingers: Was “The Last Dance” designed as a genuine finale for Eddie and Venom, or simply another attempt to prop up a struggling cinematic universe? Regrettably, evidence points more strongly towards the latter.
To provide context, revisiting “Venom” and “Venom: Let There Be Carnage” before “The Last Dance” was crucial. These earlier films, while flawed superhero entries, were ultimately saved by Tom Hardy’s captivating dual performance as Eddie Brock and Venom. The original “Venom” presented a conventional origin story with a sluggish start, but gained momentum in its latter half, featuring exciting action and Hardy’s compelling portrayal, even if hampered by a generic villain in Riz Ahmed’s Carlton Drake/Riot. “Let There Be Carnage,” surprisingly, improved upon its predecessor. It amplified the comedic dynamic between Brock and Venom, allowing Hardy to fully embrace the humor, and benefited from Woody Harrelson’s scene-stealing performance as Cletus Kasady/Carnage, who overshadowed 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 that complemented his comedic timing. “Venom: The Last Dance,” unfortunately, veers sharply in the opposite direction.
Let’s begin with the few bright spots, though the list is disappointingly short. It’s important to acknowledge that even amidst its shortcomings, “The Last Dance” isn’t the absolute nadir of superhero cinema, nor the worst film of the year.
Tom Hardy, even with a demonstrably weak script, continues to deliver a commendable performance as both Eddie Brock and Venom. While he isn’t afforded the same level of comedic freedom as in the previous films, his dedication to the roles is evident (back to the positives, apologies).
The supporting cast also provides solid performances, with Chiwetel Ejiofor as Orwell Taylor being a particular standout. Ejiofor consistently brings a commanding presence to every role he undertakes, exemplified by his portrayals of Baron Mordo in the “Doctor Strange” films and Bathurst 2020 in the largely forgotten “Infinite.” Regardless of the film’s overall quality, Ejiofor elevates the material, and in stronger projects, he frequently steals the spotlight.
Alt text: Venom symbiote humorously controls a horse in a scene from Venom: The Last Dance, showcasing unexpected abilities.
The visual effects team deserves praise for bringing Venom and the various alien entities to life with stunning detail. The CGI in the previous “Venom” films was already noteworthy, but it warrants specific mention again when highlighting the film’s positive attributes.
The action sequences are moderately engaging. Action has consistently been a strong suit of the “Venom” franchise. While “The Last Dance” features the least exciting action overall compared to its predecessors, the initial action scene is undeniably well-executed.
The Venom symbiote’s unique abilities are utilized in inventive ways at times. As previewed in the trailers, Venom’s control over a horse is indeed one of the film’s more memorable and humorous moments. Without venturing into spoiler territory, he extends this control to other animals, and the introduction of new symbiotes adds a layer of intrigue.
And with that, the list of positives essentially concludes.
A significant failing of “The Last Dance” lies in the portrayal of Eddie Brock and Venom themselves. While Hardy’s effort is undeniable, there are numerous instances where his performance feels listless. Admittedly, the script dictates periods of boredom for his character, and Hardy is credited as a co-writer, but the on-screen result is a palpable sense of disengagement.
The film’s attempts to introduce new characters fall flat, lacking any compelling depth. The prime example is Dr. Payne, played by Juno Temple, whose character serves little purpose beyond expressing unwarranted faith in Brock’s harmlessness, contrasting sharply with Ejiofor’s character who recognizes the global threat posed by Knull’s forces.
Speaking of Knull, the supposed overarching villain, he proves to be even less impactful than Carlton Drake from the first film. Knull merely dispatches generic alien minions to retrieve a plot device (MacGuffin) possessed by Venom. While lacking firsthand knowledge of the comics, the general consensus and this film’s depiction suggest Knull possesses a rich and complex lore that is woefully unexplored here. The combination of Knull’s underwhelming alien lackeys and stock Area 51 agents as antagonists feels both excessive and insufficient simultaneously.
Stephen Graham’s Detective Mulligan suffers from similar underdevelopment. Trailers suggested Mulligan would be a pivotal and intriguing character. However, his sole contributions of interest are his possession by a symbiote and a cursory warning about Knull. Beyond these superficial elements, Mulligan is largely wasted.
Furthermore, the comedic elements, a strength of “Let There Be Carnage,” are severely diminished. “Let There Be Carnage” bordered on outright comedy, eliciting genuine laughter. “The Last Dance,” in contrast, manages only a couple of laughs and a handful of chuckles. Humor is largely confined to the Venom-horse sequence and occasional banter between Brock and Venom, failing to sustain comedic momentum throughout the film.
Alt text: Eddie Brock and Venom in a serious, contemplative scene from Venom: The Last Dance, highlighting the shift in tone.
Adding to the film’s deficiencies is a marked lack of emotional resonance. This stems from the underutilization of Brock and Venom and the distracting clutter of underdeveloped characters. The audience is given little reason to care about the generic Area 51 personnel or the forgettable family who briefly assist Brock and Venom in Las Vegas. Consequently, when the film escalates the stakes to an improbable level in its climax, emotional investment is absent. The film attempts to evoke emotion, but these attempts ring hollow.
While the previous “Venom” films offered a degree of entertainment, “The Last Dance” fails to recapture that spark. In an era increasingly defined by “superhero fatigue,” this trilogy closer brings nothing novel to the genre. Flickers of interesting concepts and isolated standout scenes are insufficient to salvage this disappointing entry in a franchise already characterized by inconsistency.
Technically, “The Last Dance” earns a charitable 6/10. Ignoring the deficient plot and underwhelming screenplay, the visual effects remain top-tier, the performances are generally strong, and the film functions on a basic cinematic level.
However, in terms of pure enjoyment, my rating plummets to a 4/10. Despite a pre-release hope that it might defy expectations, especially after revisiting and appreciating “Let There Be Carnage” more, “The Last Dance” proves to be a significant letdown. It not only fails to reach the bar set by “Let There Be Carnage” but also establishes itself as the weakest installment in the trilogy. It shares thematic flaws with notorious superhero misfires like “Spider-Man 3” and “The Amazing Spider-Man 2,” yet lacks even their unintentional entertainment value. It is with considerable disappointment that I assign such a low enjoyment score, as this trilogy deserved a more fitting conclusion. Perhaps a second viewing might alter this initial assessment, but currently, the most prudent recommendation is to await its arrival on streaming services like Netflix or Disney+.
