The “Venom” franchise is a movie series removed from time.
On one hand, the trilogy of films concluding with Kelly Marcel’s newly released Venom: The Last Dance is a clear cut above its immediate peers. Sony’s catalog of Spider-Man-adjacent villain-focused spinoffs has largely produced an astoundingly poor collection of films. From Morbius to Madame Web and the upcoming Kraven the Hunter, these live-action spinoffs, entirely divorced from Spider-Man (except for an ill-advised appearance of an infant Peter Parker in Madame Web), have fared incredibly poorly. While Venom is part of this list, it’s disingenuous to suggest that these Tom Hardy-led films lack cinematic value or entertainment compared to something like Morbius.
The first Venom film served as a testing ground for Sony’s superhero films, achieving notable success with audiences despite poor critical reception. Its retro feel, reminiscent of early 2000s superhero movies, continued with Venom: The Last Dance, which evokes a 2007 vibe. This installment shares more similarities with earlier superhero films like Fantastic Four: Rise of the Silver Surfer and Ghost Rider than with contemporary comic book movies, highlighting a peculiar blend of nostalgia and creativity within the trilogy.
The film’s unique qualities set it apart from the MCU, and it’s most engaging when writer/director Kelly Marcel and star Tom Hardy feel free to explore their creativity rather than adhere to franchise mandates. This spontaneity adds a layer of authenticity to their performances, making the film more enjoyable.
After spending the previous two entries writing the scripts for the Venom films, Marcel clearly has a firm grasp on their dynamics. Her vision aligns well with Hardy’s go-for-broke energy, which has persisted throughout the series. This collaboration yields some promising results, such as scenes where Hardy’s Eddie rides in a hippie caravan while Venom sings along to David Bowie’s “Space Oddity,” or their amusing conversations about the Statue of Liberty. However, the actual plot is a convoluted mess, detracting from the film’s enjoyment.
The CGI-heavy prologue introduces Knull, who spends the first few minutes monologuing about his desire for freedom and his evilness. While establishing Knull isn’t inherently bad, his absence later in the film feels like a waste of screen time. Venom: The Last Dance moves at a breakneck pace, with editing struggling to keep up with the plot’s crucial beats, leaving it feeling underdeveloped.
This issue extends throughout the film, culminating in a climax filled with superheroic action that seems designed for audience applause. Unfortunately, in the theater I attended, silence prevailed, leaving the finale feeling awkwardly paced.
Ultimately, the finale tries to address the emotional stakes of Eddie and Venom’s relationship, allowing Hardy to explore this connection meaningfully. However, the impact of this moment is undermined by a poorly executed trilogy-spanning flashback set to Maroon 5’s “Memories.” This decision weakens the film’s conclusion, resulting in a finale that encapsulates the trilogy’s chaotic essence in a way that feels unintentional.
RGM GRADE
(D)
Overall, Venom: The Last Dance feels like its predecessors, marked by brief moments of brilliance stemming from Hardy’s unique performance. While Marcel’s involvement brings some creative flair, studio interference and mandatory reshoots obscure the film’s strengths. The action sequences and excessive exposition about Knull detract significantly from the experience, overshadowing the inspired moments that Hardy and Marcel manage to weave into the film. Unfortunately, these uninspired elements dominate, leaving the film struggling to find its footing amidst Sony’s franchise constraints.
