Movie Review – Venom: The Last Dance
Principal Cast : Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Stephen Graham, Peggy Lu, Clark Backo, Alanna Ubach, Andy Serkis, Hala Finley, Dash McCloud, Cristo Fernandez, Reid Scott.
Synopsis: Eddie Brock and Venom must make a devastating decision as they’re pursued by a mysterious military man and alien monsters from Venom’s home world.
********
Approaching Venom: The Last Dance, I realised fairly quickly that my memory of the previous films had become a little hazy. I remember enjoying the first well enough, but the second instalment left a far less savoury impression. That slight disconnect doesn’t end up being a problem here, as The Last Dance wastes little time in reconnecting audiences to the events of the previous chapter—most notably the apparent death of the unfortunate policeman, played by Stephen Graham in the cathedral at the end of the earlier film. Whether viewers recall that moment clearly or not, the film certainly does, and it uses that lingering thread to propel Eddie Brock and his parasitic partner into their latest misadventure.
In this third entry, investigative journalist Eddie Brock (Tom Hardy) and the alien symbiote living inside him find themselves hunted by both human authorities and forces far more otherworldly, after the pair become entangled in a cosmic mystery involving a powerful artefact known as the Codex. As military officials and scientists attempt to understand the true nature of the symbiotes, an alien predator known as a Xenophage is unleashed with the singular goal of tracking down Venom and reclaiming the Codex, forcing Eddie and his unpredictable passenger into a globe-trotting fight for survival that may ultimately determine the fate of their species.
As has been the case throughout this franchise, however, the real appeal lies with Tom Hardy. Hardy’s performance as Eddie Brock has always leaned into the character’s awkward, slightly chaotic energy, but here the actor seems even more comfortable inhabiting the role. Much of the film finds Eddie navigating events while nursing what appears to be a monumental hangover, an amusingly human flaw that lends the character a certain vulnerability. It also highlights Hardy’s surprisingly sharp comedic instincts, something these films have consistently drawn upon to great effect. Venom himself remains the other half of the equation that makes the series work. The relationship between Eddie and the symbiote continues to function as a gleefully dysfunctional odd couple pairing, with their constant verbal sparring providing many of the film’s most effective comedic beats. Venom’s enthusiasm for dispatching criminals—often in ways that are both grotesque and darkly funny—still manages to land with the same mischievous energy that made the character so entertaining in the first place. Watching the symbiote gleefully tear through villains with unapologetic relish shouldn’t be amusing, yet the film’s tone ensures it frequently is.
Behind the camera, franchise writer Kelly Marcel steps into the director’s chair for the first time, and her transition from page to screen proves surprisingly assured. Marcel has been involved in shaping the Venom films from the outset, and her familiarity with the material shows in the film’s confident pacing. Several action sequences—the rushing river chase, the creature encounters and the chaotic third-act spectacle—are staged with clarity and momentum, suggesting a filmmaker with a solid instinct for genre storytelling. For a first feature behind the camera, Marcel demonstrates an action sensibility that is genuinely impressive. Given the opportunity, it would not be surprising to see her apply those instincts to other genre projects in the future.
Technically, the film continues the franchise’s reputation for polished blockbuster craftsmanship. The cinematography is sleek, the visual effects remain consistently strong, and the sound design embraces the full bombast of large-scale studio filmmaking. Explosions carry satisfying weight, alien creatures feel convincingly realised, and the orchestral score provides the necessary dramatic punch when the narrative calls for it. Even in quieter moments, the editing keeps the pacing lively enough that the story rarely loses its forward momentum. A significant portion of the narrative unfolds around the familiar conspiracy playground of Area 51. The facility serves as a research base where scientists and military personnel study the nature of symbiotes, attempting to understand the alien biology that underpins their terrifying abilities. The setting may be a well-worn staple of science fiction, but it provides a functional backdrop for the film’s blend of cosmic horror and comic book spectacle.
Among those overseeing the operation is General Strickland, played by Chiwetel Ejiofor. Marvel audiences will recognise Ejiofor from Doctor Strange, though here he takes on an entirely different role. His presence lends the film a welcome sense of authority, grounding some of the narrative’s more outlandish elements with a straight-faced seriousness. Meanwhile Stephen Graham appears as Teddy, the former police detective left for dead at the end of Let There Be Carnage, bringing his usual intensity to a character whose ominous presence hints at darker developments beneath the film’s surface. The mythology expands to include a creature known as a Xenophage—an alien entity dispatched from another dimension to hunt Venom. The concept is delightfully absurd on paper, essentially presenting the symbiote as prey to a much larger and more dangerous predator. Yet the film treats the idea with enough visual menace that it introduces an unexpected horror flavour to the proceedings. At times Venom: The Last Dance feels closer to a monster movie than a conventional superhero adventure, particularly when the narrative leans into apocalyptic warnings and ominous symbiote lore.
Balancing this darker tone are the film’s frequent bursts of humour. The arrival of Rhys Ifans as an eccentric traveller accompanied by his equally unconventional family provides one of the film’s more surprising diversions. Their appearance leads to a surreal roadside singalong of David Bowie’s Space Oddity, an unexpected moment of levity that somehow fits perfectly within the film’s offbeat sensibility. Likewise the return of Mrs Chen, whose brief involvement leads to an entertaining Las Vegas detour set to ABBA’s Dancing Queen, offers another reminder that the series works best when it embraces its inherent absurdity.
The action sequences themselves often follow the same philosophy. A high-speed chase along a raging river delivers impressive visual spectacle, even if it contributes little to the overarching narrative. Elsewhere, a memorable moment sees Venom transforming a horse into a symbiote-enhanced mount, a gleefully ridiculous idea executed with just enough conviction to make it genuinely entertaining.
Where the film occasionally falters is in the delivery of its more complex exposition. Once the mechanics of the codex, the xenophage and the larger cosmic stakes begin to surface, the dialogue can become somewhat bogged down in explanation. The underlying conflict between scientific curiosity and military control is present but never explored with much depth, and viewers unfamiliar with comic book lore may find certain details difficult to follow. Yet these narrative shortcomings rarely derail the experience. The film maintains a sense of playful energy throughout, largely because everyone involved appears to understand exactly what kind of story they are telling. Hardy throws himself into the role with enthusiasm, the supporting cast matches the film’s tone, and Marcel’s direction keeps the entire production moving with a confident sense of rhythm. By the time the film reaches its finale, the narrative has escalated into full cosmic spectacle. Symbiotes, alien creatures and world-ending threats collide in a climax that is less concerned with strict logic than with delivering sheer entertainment. It is chaotic, excessive and occasionally nonsensical—but it is also undeniably fun.
For all its narrative quirks, Venom: The Last Dance ultimately succeeds by embracing what the franchise has always done best. Rather than chasing the seriousness of other superhero properties, it leans into the strange, comedic and occasionally ridiculous qualities that make Venom such an entertaining character. The result is a film that may not aspire to high art, but understands exactly how to deliver an enjoyable slice of blockbuster escapism. In fact, taken on its own terms, this may well be the most satisfying entry in the trilogy. By leaning further into the character’s comedic potential while expanding the cosmic scale of the story, the film finally finds a comfortable balance between spectacle and absurdity.
If this truly marks the final outing for Eddie Brock and his alien companion, it’s an entertaining note on which to end. Venom’s last dance, it turns out, is a surprisingly enjoyable one.
Who wrote this?
