Shadows on the Wall | Venom: The Last Dance

Venom: The Last Dance

dir-scr Kelly Marcel
prd Avi Arad, Tom Hardy, Kelly Marcel, Amy Pascal, Matt Tolmach, Hutch Parker
with Tom Hardy, Chiwetel Ejiofor, Juno Temple, Stephen Graham, Clark Backo, Rhys Ifans, Alanna Ubach, Cristo Fernandez, Peggy Lu, Dash McCloud, Hala Finley, Andy Serkis
release US/UK 25.Oct.24
24/US Columbia 1h49

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Continuing the adventures of the journalist inhabited by a cheeky brain-munching alien, writer Kelly Marcel also takes on directing duties. And the film's more coherent effects and action weave into a stronger story punctuated with nice moments that let the characters breathe. This makes the film funny and warm, even if elements are pasted together without much regard for logic. Indeed, the narrative relies far too heavily on coincidence.

Hiding in rural Mexico, Eddie (Hardy) and his symbiont Venom randomly decide to head to New York for their safety. But they're being chased by unstoppable beasts from an oozing digital hellscape dominated by the villainous Knull (Serkis), intent on collecting the "codex" they carry. They crash into the desert, not far from Area 51, where meathead General Strickland (Ejiofor) and thoughtful scientist Payne (Temple) have collected other symbionts, including the one living in Detective Mulligan (Graham). And the only way to stop Null from destroying humanity is for either Eddie or Venom to die.

An enjoyably spurious subplot features Eddie meeting a family of alien enthusiasts who, for some reason, have never visited Area 51 before. The parents (Ifans and Ubach) and children (McCloud and Finley) offer a wonderfully goofy counterpoint, which Hardy has fun with. Making a stop in Las Vegas is utterly spurious, as is the family's involvement in the big final action mayhem. But it's nice to have something to smile at between the bombast.

Hardy's weary charm is impressive, especially since he's usually engaging in nutty banter with himself. Eddie has little control over his life, and yet he maintains a sardonic sense of humour and reveals some warmth in his connection with Venom. Temple has terrific presence, making the most of her hastily sketched back-story while finding sparky textures in her interaction with everyone around her. Ejiofor has little to do but grin maniacally, while the likeable Ifans is essentially playing an American Rhys Ifans.

It's a shame that the story here (and in the previous two films) feels so slapdash, filling the screen with anomalies such as how Venom's healing powers also mysteriously repair and wash Eddie's clothes. And while this film feels more resonant emotionally, it still has little to say beyond the chaos of the depicted situation. Although this is set out as the conclusion of a trilogy, two post-credits stings leave a crack in the door for further antics. But things need to get deeper, not bigger, to hold the fanbase.

themes, language, violence 22.Oct.24

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