{"id":1011218,"date":"2026-01-11T09:04:33","date_gmt":"2026-01-11T09:04:33","guid":{"rendered":"https:\/\/www.polygon.com\/?p=469476"},"modified":"2026-01-11T09:04:33","modified_gmt":"2026-01-11T09:04:33","slug":"venom-the-last-dance-is-in-a-toxic-relationship-with-itself","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/venom-the-last-dance-is-in-a-toxic-relationship-with-itself\/","title":{"rendered":"Venom: The Last Dance is in a toxic relationship with itself"},"content":{"rendered":"
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2018\u2019s Venom<\/em><\/a> is janky and often boring, but the divide between the movie\u2019s standard superhero-brawler script and Tom Hardy\u2019s \u201cWhat if I got in the lobster tank?<\/a>\u201d improvisations in the dual lead roles as reporter Eddie Brock and his alien symbiote give the final product an undeniable appeal. Venom<\/em>, in spite of itself, is weird and funny in a way that very few superhero movies get to be anymore. <\/p>\n

Unfortunately, the sequel, 2021\u2019s Venom: Let There Be Carnage<\/em><\/a>, discards the tension between impulsive performance and by-the-books plotting, and leans into Hardy\u2019s performance as comedy, with mixed results. And now the supposedly final installment (at least that\u2019s what the title, Venom: The<\/em> Last Dance<\/em>, suggests) unhinges its toothy alien jaw and tries to inhale an Eddie\/symbiote raunch-comedy road trip and a totally serious, high-stakes, ensemble sci-fi action movie at the same time. <\/p>\n

Picking up from the events of Venom: Let There Be Carnage<\/em> (as well as a credits scene from Spider-Man: No Way Home<\/em><\/a>), The Last Dance<\/em> opens with Eddie (Hardy) and the Venom symbiote (also Hardy) vacationing in Mexico, where they learn they\u2019re wanted for the murder of Detective Mulligan (Stephen Graham). Mulligan was seemingly killed in the last movie by Carnage\u2019s fianc\u00e9e, Shriek<\/a>, but he survived due to symbiote synthesis. Eddie and the symbiote decide to go to New York, because Eddie \u2014 still an investigative journalist with considerable achievements under his belt, though Last Dance<\/em> doesn\u2019t do much to remind viewers about that \u2014 remembers he has dirt on a judge there, and can use it as blackmail to clear his name. Yeah, sure, totally, I guess. <\/p>\n

Shortly thereafter, they realize they\u2019re being hunted by even more powerful forces. As an opening montage and some lore dumps explain, Knull (Andy Serkis), the god of symbiotes and the void, who looks like a goth band\u2019s lead guitar player, wants Eddie and the symbiote\u2019s \u201ccodex.\u201d That\u2019s a bit of metaphysical whatsit they possess because, essentially, their host-symbiote bond is uniquely strong. Knull needs the codex to unlock his space prison so he can destroy all life in the universe, so he\u2019s sent a cadre of hunter-killer monsters to Earth to get them.\u00a0<\/p>\n

This Knull stuff feels like it\u2019s coming out of nowhere in this series, and that\u2019s because it\u2019s hot-off-the-presses Marvel Comics continuity, published at basically the same time that 2018\u2019s Venom<\/em> was hitting theaters. Last Dance<\/em> lifts Knull\u2019s character design and backstory, as well as the concept of codexes and the idea that the symbiote homeworld is a prison, from the work of writer Donny Cates and artist Ryan Stegman, who created Knull as the main antagonist of their wildly popular 2018 run on Venom<\/em>, which culminated in the King in Black<\/em> crossover event<\/a>. <\/p>\n

\"\"<\/p>\n

Hardy and Last Dance<\/em> director\/co-writer Kelly Marcel even use lines from Knull\u2019s origin-story reveal issue as mic-drop moments, when one character impressively hisses, \u201cThe darkness has teeth<\/em>.\u201d Which would be way more fun if Cates and Stegman hadn\u2019t been kept in the dark about their work being adapted for Last Dance<\/em> \u2014 they found out from a trailer<\/a>. They seem to be taking it<\/a> in stride<\/a>, but it\u2019s far from a good look<\/a> for Sony and Marvel Entertainment.\u00a0<\/p>\n

Anyway: God of symbiotes. Needs Venom\u2019s codex. CG hunter-monsters from space. (Xenophages, a borrowed monster from Larry Hama\u2019s 1996 Venom: The Hunted<\/em>.) Got all that? Because we haven\u2019t even met the rest of the expansive human<\/em> cast of Last Dance<\/em>, who come equipped with their own backstories, goals, and personality quirks. Juno Temple plays a symbiote-sympathetic scientist with a sad childhood. She argues with Chiwetel Ejiofor\u2019s xenophobic general, who wants to shut down her research and eliminate her many captured alien symbiotes. Rhys Ifans plays an anachronistic aging hippie dad whose lifelong dream is to meet an alien. <\/p>\n

The idea of expanding the cast for Last Dance <\/em>to include interest outside Venom\u2019s is noble enough. Much ink has been spilled about how Sam Raimi\u2019s dedication to including the \u201clittle people\u201d of New York City as players in his Spider-Man trilogy<\/a> lent those movies a vital humanizing tone. Modern interconnected superhero movies normally only have time for superheroes (or characters who are going to become superheroes sometime in the next few franchise installments), and that\u2019s almost always to those movies\u2019 detriment. <\/p>\n

But Venom: The Last Dance<\/em> is so buried under its moving parts that it can\u2019t do justice to any of them, in spite of Marcel\u2019s efforts. (She\u2019s making her directing debut here, after working as a screenwriter on both previous Venom movies and 50 Shades of Grey<\/em>.) The Last Dance<\/em> doesn\u2019t exactly swing between Venom\u2019s no-good, very-bad road trip and the rest of the characters: It leaps its tracks like a runaway train, cutting straight from an earnest moment of a woman contemplating a long-held childhood grief to an dance interlude set to ABBA\u2019s \u201cDancing Queen.\u201d It\u2019s like Eddie and Venom are in The Hangover<\/em>, but everyone else is in the very serious parts of Independence Day<\/em>. <\/p>\n

Even Last Dance<\/em>\u2019s take on Eddie and the symbiote\u2019s relationship isn\u2019t convincing this time around. Based on Last Dance<\/em> alone, it is markedly unclear why Eddie likes sharing his body with this alien parasite, which is a real problem for the film\u2019s intended emotional core. Here, Venom is not two characters in a messy but earnest relationship, working toward a shared goal (at least not beyond \u201csurviving\u201d). Eddie is a man whose body is controlled by the whims of an asshole toddler who can\u2019t be reasoned with. That is, until the exact moment Last Dance<\/em>\u2019s climax needs the symbiote to actually be a character, and not a series of jokes, at which point it simply turns into an entirely different person. <\/p>\n

\"Eddie<\/p>\n

The original Venom<\/em> found success in the mess of Hardy\u2019s gutsy performance straining against stakes as mundane as Eddie interacting with his ex and her aggressively normal new boyfriend, after they watched him feverishly climb into a restaurant\u2019s lobster tank. Last Dance<\/em>, however, removes every human consideration from the equation of Eddie\u2019s life \u2014 every social tie, every personal goal, every stake smaller than \u201caliens and the government are trying to kill us.\u201d <\/p>\n

So when Last Dance<\/em> tries to recreate the antic lobster-tank moment \u2014 when the symbiote draws attention by making Eddie behave erratically in a Vegas casino, nearly kills him on a wild Venom-horse-hybrid ride, or throws away a full plate of home-cooked food in front of the people who handed it to Eddie, in an act of unlooked-for kindness \u2014 there\u2019s no resonance. If Eddie Brock climbs into a lobster tank but no one who cares about him is around to hear it, does it make a sound? There\u2019s apparently no end to the ways the symbiote can embarrass Eddie, but so long as Eddie isn\u2019t meaningfully connected to anyone in the movie \u2014 as long as he\u2019s lost everything but Venom, and is past caring about anyone else\u2019s esteem or worrying about maintaining a normal life, that embarrassment is meaningless. <\/p>\n

At that point, you\u2019re just putting Tom Hardy in a lobster tank for the sake of putting Tom Hardy in a lobster tank. And it turns out that gets old pretty quick.<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

2018\u2019s Venom is janky and often boring, but the divide between the movie\u2019s standard superhero-brawler script and Tom Hardy\u2019s \u201cWhat if I got in the lobster tank?\u201d improvisations in the dual lead roles as reporter Eddie Brock and his alien symbiote give the final product an undeniable appeal. Venom, in spite of itself, is weird and funny in a way that very few superhero movies get to be anymore.  Unfortunately, the sequel, 2021\u2019s Venom: Let There Be Carnage, discards the tension between impulsive performance and by-the-books plotting, and leans into Hardy\u2019s performance as comedy, with mixed results. And now the supposedly final installment (at least that\u2019s what the title, Venom: The Last Dance, suggests) unhinges its toothy alien jaw and tries to inhale an Eddie\/symbiote…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1011219,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1011218","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nVenom: The Last Dance is in a toxic relationship with itself | Arcader News<\/title>\n<meta name=\"description\" content=\"2018\u2019s Venom is janky and often boring, but the divide between the movie\u2019s standard superhero-brawler script and Tom Hardy\u2019s \u201cWhat if I got in the lobster\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arcader.org\/news\/venom-the-last-dance-is-in-a-toxic-relationship-with-itself\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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