Over three films, the Venom series has carved out a distinct space in the comic book movie landscape, not so much by defying superhero conventions but by embracing its own unique brand of antihero absurdity. In Venom: The Last Dance, the third and supposedly final installment, the franchise leans even more into the chaotic, almost slapstick quality of its predecessors.Offering audiences a blend of high-stakes drama, bizarre humor, and unexpectedly tender moments, it’s an approach that has earned Venom an unwavering fan base, regardless of its critical reception. The film’s narrative wobbles under the weight of an overly ambitious plot but it’s this dynamic that ultimately drives The Last Dance.
From the outset, Venom: The Last Dance signals a desire to close out Eddie Brock and Venom’s story on a grand note. Tom Hardy’s commitment to his dual role remains the backbone of the film. Hardy’s Eddie is scruffy, perpetually exhausted, and deeply reluctant about being the “Lethal Protector.” As Venom, he transforms into a creature of pure, relentless energy, equal parts menace and mischief. The film teeters between these two facets of Hardy’s performance, and the actor’s ability to ground the character’s lunacy with genuine emotion is its saving grace.
While the story swings wide, veering into territory often reserved for standard superhero fare, Hardy’s work reminds us that Venom has never really been about villains or elaborate fights — it’s always been about the complicated, codependent friendship between a man and his alien symbiote which is why it is loved by so many.
Where the movie truly shines is in its unapologetic embrace of Eddie and Venom’s messy, dysfunctional relationship. The Last Dance doesn’t shy away from showcasing the petty squabbles, tender exchanges, and laugh-out-loud moments that have defined this bond across the trilogy. Hardy’s comedic timing, particularly as Venom’s frustration and loyalty bubble over, brings these scenes to life. However, as charming as these scenes are, The Last Dance struggles to maintain this momentum as it introduces an overstuffed subplot that veers away from what makes the Venom films distinct.
At the core of this subplot is the franchise’s latest villain: Knull, a god-like symbiote who wants nothing less than universal domination. Voiced by Andy Serkis, Knull is imbued with a grim, relentless presence that feels at odds with Venom’s otherwise playful tone.
Knull’s storyline is introduced with dark, foreboding visuals, blending gritty, retro aesthetics with Serkis’s eerie monologue. This setup initially promises an intriguing addition to the Venom universe, but as the film progresses, Knull’s character development is sidelined in favor of chase sequences and CGI-heavy battles that fail to bring much new to the table. As a result, Knull’s scenes, despite being visually striking, lacked the substance needed to make him feel like a worthy final antagonist.
Director Kelly Marcel, who steps up from screenwriter to director in this installment, makes a clear effort to elevate the film’s scope, but her directorial debut is hampered by pacing issues. Similar to Venom: Let There Be Carnage, The Last Dance juggles multiple storylines that sometimes clash rather than complement each other. Its brisk pace further makes it hard to follow. Eddie and Venom’s storyline, which sees them reluctantly team up with scientist Dr. Teddy Payne (Juno Temple) and military leader General Rex Strickland (Chiwetel Ejiofor), is the most engaging of these, but the frequent detours to Knull’s realm and the underground lab in Area 51 feel like unwelcome interruptions.
As Eddie and Venom traverse the Nevada desert, dodging Knull’s monstrous insectoid henchmen, the film indulges in a series of bizarre and memorable set pieces. There’s a daring escape from a cargo plane, a horseback ride across sand dunes, and a surreal dance scene in a Las Vegas penthouse, each sequence capturing Venom’s delightfully offbeat spirit. One particularly enjoyable sequence sees Eddie hitching a ride with a hippie family led by Rhys Ifans, who delivers a standout performance as a conspiracy theorist whose deadpan musings about aliens add an extra layer of absurdity to the proceedings.
It’s in these moments, where the film leans into its quirkiness without reservation, that The Last Dance comes closest to recapturing the energy of Let There Be Carnage.
However, while these scenes are refreshing, the movie’s pacing feels inconsistent. Just as a sequence builds momentum, the film cuts away to Knull’s shadowy domain or the sterile corridors of Area 51, disrupting the flow of Eddie and Venom’s journey.
Dr. Payne and General Strickland, though well-acted by Temple and Ejiofor, are given little to do beyond spouting exposition, and their subplot feels detached from the main story. As a result, these scenes feel like filler rather than integral parts of the narrative, pulling focus away from Eddie and Venom’s far more compelling dynamic.
Despite these missteps, The Last Dance offers moments of genuine emotional weight, particularly as Eddie and Venom confront the possibility of their separation. The film hints early on that either Eddie or Venom may have to make the ultimate sacrifice, a choice that looms large over their interactions. This potential loss lends an air of gravity to their otherwise playful banter, grounding their relationship in a way that few superhero movies manage. It’s a testament to Hardy’s skill that these moments of vulnerability feel earned, rather than forced, allowing the audience to connect with Eddie and Venom as more than just a mismatched duo.
Visually, The Last Dance stays true to the series’ gritty, tactile aesthetic, with a noticeable improvement in CGI that enhances the film’s action sequences without overwhelming them. While some scenes still suffer from the murky, indistinct look that plagued the previous films, Marcel’s direction brings a sense of cohesion to the visuals, particularly in scenes where Eddie and Venom fight in tandem. The film’s climax, a battle between Eddie, Venom, and Knull’s monstrous minions, is suitably epic.
But yet, even in these larger-than-life moments, Hardy’s grounded performance ensures that the focus remains on Eddie and Venom’s bond, rather than on the spectacle itself.
By the time the credits roll, it’s clear that Venom: The Last Dance is less of a conclusive finale and more of a love letter to the oddball charm that has made Venom a fan favorite. It’s a film that revels in its own absurdity, unafraid to mix heartfelt character moments with surreal humor. It’s this willingness to defy genre expectations that has endeared Venom to audiences despite its critical reception.
For fans who have followed Eddie and Venom’s journey from their initial, awkward fusion to their status as reluctant allies, The Last Dance offers a satisfying, if imperfect, farewell.
However, for all its ambitious attempts at spectacle, The Last Dance is at its best when it focuses on Eddie and Venom’s relationship.As a finale, it may not tie up every loose end, but it captures the essence of what makes Venom special: a darkly comic, wildly unpredictable love story between a man and his alien symbiote. It’s not a perfect film, but for fans of Eddie and Venom’s antics, it’s a satisfying send-off for one of the most unconventional partnerships in superhero cinema.
