Venom: The Last Dance – Film Review

Venom: The Last Dance, the third and final installment in Sony’s Venom trilogy, reaches for grandeur but stumbles on a convoluted storyline, lackluster characters, and underwhelming action scenes. Directed and written by Kelly Marcel, the film attempts to wrap up Eddie Brock’s journey alongside the titular symbiote with high-stakes lore, new intergalactic foes, and familiar faces, but ultimately it lacks the cohesion and finesse required to give Venom a satisfying send-off.

The film’s storyline is ambitious, attempting to dive deeper into the symbiote mythology by introducing the concept of the “Codex” and a new antagonist known as the Xenophage. These elements pull Eddie (Tom Hardy) and Venom into a cross-country chase involving government conspiracies, a supernatural connection to Knull, and a showdown at Area 51. This concept of intergalactic parasites from Knull trying to unlock an ancient prison for a cosmic-level villain sounds exciting on paper, but it quickly bogs down under its own complexity. For a film that was meant to conclude a trilogy, it’s hard to overlook how many narrative threads are thrown into the mix, some of which are half-baked or barely explored, leaving audiences struggling to keep up.

Kelly Marcel’s direction also suffers from pacing issues, as scenes often feel disjointed, either overstaying their welcome or moving too quickly to the next big reveal. By attempting to weave together Eddie’s fugitive journey, Venom’s dance of survival, and Knull’s overarching threat, the story fails to resonate on an emotional or thematic level. Key plot points, like Eddie’s alleged murder charge and the Xenophage’s relentless pursuit, feel forced into a storyline that already grapples with multiple subplots, including Dr. Teddy Payne’s research and Strickland’s militaristic government squad.

Tom Hardy’s commitment to Eddie and Venom is palpable, and his portrayal remains one of the few highlights in an otherwise scattered film. He brings his usual bravado, portraying Eddie as both worn-down yet resilient in his struggle with the symbiote and society. Unfortunately, Eddie and Venom’s character development takes a backseat as the film becomes preoccupied with introducing new characters and motivations.

Chiwetel Ejiofor’s Rex Strickland, a hardened soldier overseeing government research on symbiotes, had the potential to bring depth to the narrative. However, the character’s motivations are shallowly developed, and his interactions with Eddie and Venom feel more like exposition dumps than meaningful exchanges. Similarly, Juno Temple’s Dr. Teddy Payne is an underutilized asset, serving as a mere device for lore-building without any true personal stake in the story. The film also brings back Patrick Mulligan (Stephen Graham), whose resurrection feels contrived and fails to justify his inclusion. Graham is a talented actor, but here, his character lacks the depth or menace necessary to be a memorable villain or antihero.

The Venom films have been known for their high-energy, albeit somewhat chaotic, action sequences, but The Last Dance struggles to live up to even this modest standard. The climactic showdown at Area 51 should have been a spectacle worthy of closing out the trilogy, yet it feels surprisingly tepid and uninspired. The Xenophage—a deadly alien hunter meant to be a menacing antagonist—fails to live up to its hype, with its CGI design appearing more cartoonish than terrifying. Its confrontations with Venom lack the visceral edge that made previous battles with Riot and Carnage exciting.

The film also introduces new symbiotes during the lab breakout, which could have provided an opportunity for engaging symbiote-versus-symbiote combat. Instead, these encounters feel hastily choreographed and lack the necessary polish to make them truly exhilarating. Furthermore, the action is hampered by excessive quick cuts and shaky camera work, making it difficult to follow the flow of combat, let alone immerse oneself in the spectacle.

One of the most jarring aspects of The Last Dance is its tonal inconsistency. Past Venom films leaned into their quirky, sometimes chaotic humor, using it to balance the dark anti-hero elements with moments of levity. However, this installment tries to shoehorn a more somber tone amidst the usual banter, leading to an awkward mishmash that doesn’t quite find its footing. Eddie and Venom’s scenes in Mexico, for example, feel disconnected from the more serious and sinister moments. The attempts at humor feel out of place, clashing with the heavier themes the movie seems to want to tackle.

The film teases a larger cosmic connection with Knull, the symbiote god, positioning him as a looming threat that could have added an epic dimension to Venom’s world. However, this element is relegated to brief mentions and vague threats, never building to a satisfying reveal or resolution. Even the end credits scenes—which have often teased interesting future directions for Sony’s Spider-Man Universe—fall flat here.

Venom: The Last Dance had potential as a high-stakes conclusion to Eddie Brock’s journey, but ultimately it’s a messy, unfocused film that fails to capitalize on its strongest elements. The plot is bloated with convoluted lore that detracts from Eddie and Venom’s core relationship, while the new characters and threats fall short of being compelling. Though Tom Hardy does his best to breathe life into Eddie and Venom, the story and direction give him little to work with. With uninspired action scenes, a confusing tone, and an underwhelming approach to Knull, the film’s grand ambitions come across as hollow.