Venom: Last Dance – A Hilariously Cheesy Sequel or a Poisoned Chalice?

Venom: The Last Dance – A Fitting, if Flawed, Finale to a Surprisingly Successful Franchise

Sony’s Venom trilogy has defied expectations. While neither of the previous films were critical darlings, their peculiar blend of Odd Couple-esque humor and surprisingly effective (if bloodless) body horror resonated with audiences enough to generate sizeable box office returns. The question hanging over Venom: The Last Dance was whether the franchise could maintain its momentum without the injection of a Spider-Man crossover, a seemingly crucial element given the character’s central role in the Venom mythos. This latest installment, helmed by writer/director Kelly Marcel, doesn’t reinvent the wheel, instead choosing to focus on the established dynamic between Eddie Brock and his symbiote.

The film picks up shortly after the events of Let There Be Carnage, leaving the intriguing, implied multiversal connection largely unexplored. While the post-credit scene of Let There Be Carnage hinted at a potentially massive crossover event with the broader Marvel Cinematic Universe (MCU), The Last Dance remarkably sidesteps this opportunity, prioritizing a more intimate narrative focused on the evolving relationship between Eddie and Venom. This self-imposed constraint isn’t necessarily a flaw; after the multiverse-hopping extravaganza of Deadpool & Wolverine, the film’s decision feels almost refreshing—a deliberate attempt by Sony and Marcel to stay within a specific, well-defined lane, mimicking the approach taken in Madame Web.

The core narrative of The Last Dance centers on Eddie and Venom’s perilous flight from the law, fueled by the cumulative consequences of their previous misadventures. Having caused significant mayhem—from blowing up a rocket in the first film to unleashing a new symbiote-powered serial killer in the second—the duo are now high-profile fugitives, facing relentless pursuit by the resourceful special-ops soldier Rex Strickland (Chiwetel Ejiofor). Their journey leads them on a winding path, ultimately returning them to the familiar streets of New York City. This plotline, however logical, underscores one of the film’s limitations: a potentially complex storyline featuring a symbiote invasion is hampered by a somewhat thin narrative thread.

The film introduces Knull (Andy Serkis), the ancient symbiote god, a key figure from the comics. Knull’s backstory, delivered through a somewhat clunky, CGI-heavy exposition dump, reveals his imprisonment at the hands of his betrayed symbiote offspring. The film establishes Knull’s desperate desire for freedom, suggesting Eddie and Venom’s unique bond holds the key to his escape. However, the execution of this plot point feels somewhat underwhelming. The film’s attempt to position Knull as a significant threat is somewhat undermined by the somewhat contrived nature of his plan, which relies on the ability to dispatch various monstrous minions—including Xenophages, creatures directly drawn from the comic books—through portals reminiscent of Doctor Strange’s mystical gateways. This feels, ultimately, like a consequence of the limited roster of Venom-related characters within Sony’s cinematic rights.

The inclusion of unnamed, color-coded symbiotes further hints at a sense of creative constraint. Despite their visually impressive, terrifying design, these additions fail to fully realize their menacing potential, largely due to the film’s inability to truly jeopardize its central characters. The film understands its reliance on the established core dynamic between Eddie and Venom; jeopardizing that dynamic would risk undermining the film’s core appeal

Despite its narrative shortcomings, The Last Dance’s saving grace lies in Tom Hardy’s dual performance. His portrayal of both Eddie and Venom remains the film’s standout feature. While his accent might still be a source of amusement for some viewers, Hardy’s portrayal of Eddie exudes a palpable weariness, reflecting the strain of a year spent coexisting with an extraterrestrial parasite. Venom himself displays a more nuanced emotional range, showcasing the deepened bond between himself and Eddie. This subtle evolution of the characters’ emotional resonance is perhaps the film’s most successful element.

The supporting cast, however, proves to be a weak point. These characters are largely underdeveloped, lacking the depth needed to make a significant impact on the film’s narrative. While the visual effects are generally pleasing, they don’t quite reach a consistently high standard, sometimes appearing less polished than expected in a major studio Hollywood production.

Ultimately, Venom: The Last Dance succeeds, in a limited way. While not a strong film from a purely cinematic standpoint, it effectively brings closure to Eddie and Venom’s story. The film’s focus remains firmly on the interplay between its two central characters, relying heavily on their established dynamic and humorous chemistry. Fans who appreciated the previous installments’ peculiar brand of humor and action will likely find this installment mildly entertaining.

This film functions as a satisfactory conclusion to a trilogy that, against expectations, found its niche. It’s not a game-changer, and it won’t win any awards, but it avoids the pitfalls many such franchise finales stumble into. In its own peculiar way, Venom: The Last Dance delivers a satisfying, if imperfectly executed, conclusion. By focusing on the core relationship, it manages to bring a surprisingly heartfelt end to this peculiar chapter of the Sony Universe. However, for those unconvinced by the first two films, this offering unlikely will change their mind. The distinct lack of a major crossover will leave many wanting more, but in choosing to focus on its unique strengths rather than chasing trends, the trilogy concludes on its own terms. The final message feels clear: for better or worse, this is the end of this particular Venom story.

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