Venom: The Last Dance Review

Venom: The Last Dance strives to be a climactic sendoff for Tom Hardy’s chaotic antihero, but instead delivers an uneven, overstuffed spectacle that sacrifices its strengths for ill-conceived detours. While the third installment in Sony’s Venom franchise offers glimpses of the offbeat humor and frenetic action that defined its predecessors, these moments are too often overshadowed by a bloated narrative and misguided creative choices.

The film picks up after Venom: Let There Be Carnage, with Eddie Brock and Venom (both played by Hardy) on the run. Their bond remains central to the story, and their quirky, odd-couple dynamic continues to generate laughs. Hardy’s commitment to the dual role shines in moments of bickering and camaraderie, providing the film with its few bright spots. Unfortunately, even Hardy’s dedication can’t save a script that’s stretched thin with too many subplots and underdeveloped ideas.

The introduction of Knull (voiced by Andy Serkis), the dark god of the symbiotes, should have been a major narrative hook. Instead, the character is reduced to a clichéd, exposition-heavy villain confined to delivering ominous monologues. The film’s primary antagonists, a military commander (Chiwetel Ejiofor) and a morally ambiguous scientist (Juno Temple), are similarly underwhelming. Their subplot, centered on the capture and study of symbiotes, feels disconnected from the main story and lacks the depth needed to engage viewers. Both Ejiofor and Temple are talented performers, but they’re given little to work with, resulting in forgettable roles.

Director Kelly Marcel, making her debut behind the camera, brings some energetic flair to the action sequences, especially in the bombastic climax. Scenes like a battle royale and a desert horseback chase showcase the potential for thrilling, symbiote-powered chaos. Yet these moments are frustratingly brief, with the film frequently cutting away to less compelling plotlines, such as the drab Area 51 lab setting. The pacing is erratic, and the tonal shifts — from slapstick comedy to grim exposition — are jarring.

The decision to aim for a PG-13 rating further hampers the film’s impact. While the Venom character begs for a darker, more visceral approach, the action sequences are sanitized, lacking the edge that fans of the comics might hope for. The humor, another hallmark of the series, feels forced at times, with recurring gags — like Eddie constantly losing his shoes — failing to land.

Despite its flaws, Venom: The Last Dance isn’t without its charms. Hardy’s performance remains a highlight, and his chemistry with Venom provides moments of genuine amusement. Supporting characters like Rhys Ifans’ hippie father and Peggy Lu’s Mrs. Chen inject brief but much-needed bursts of levity. A musical interlude featuring David Bowie’s “Space Oddity” is unexpectedly touching, offering a rare glimpse of emotional resonance amid the chaos.

Ultimately, the film’s ambition to juggle multiple plotlines and expand the Venom mythos leads to a scattered and unsatisfying finale. While diehard fans might find some enjoyment in the action and humor, the lack of focus and missed opportunities make Venom: The Last Dance feel like a franchise spinning its wheels. Perhaps it’s time for Venom to find a new creative direction — or to finally let the symbiote rest.