Venom: The Last Dance, Mark Kermode’s superhero film review (video).

Here’s Mark Kermode’s take on the new superhero movie, Venom: The Last Dance, in the above video. And our thoughts here at Nest towers? Read on…

Let’s talk Venom: The Last Dance, or as I like to call it, “When Symbiotes Go Salsa Dancing.” Yes, it’s 2024 and Tom Hardy is back, wrestling with his favourite gooey alter-ego in what promises to be his “final” spin as Eddie Brock—until Sony inevitably decides to milk this cash cow a few more times. Because who can say no to another sequel where alien goo attaches itself to people and causes utter mayhem, am I right?

For those who thought two films of Hardy arguing with himself in a not-so-loveable symbiote bromance was enough, well, guess what? There’s three now. And this time, Venom’s all about that Codex life—something to do with symbiotes, a space god named Knull (played by Andy Serkis because apparently, he wasn’t content just directing), and a cosmic threat that I’m still not quite sure anyone entirely understands. Let’s be honest, we’ve all been pretending to follow along since the second movie, Venom: Let There Be Carnage, where the plot felt more like a late-night fever dream.

The film kicks off with Venom and Eddie in—wait for it—a bar in Mexico, because nothing screams “final showdown” quite like an alien symbiote knocking back tequila shots. The fact that Eddie’s been blamed for murder (again) and is on the run doesn’t really seem to faze him. Sure, let’s down some margaritas before saving the world. Priorities, right?

Meanwhile, somewhere between the burning wreckage of Area 51 and a family of alien-chasing hippies, Venom finds time to tango with an entirely new threat: the Xenophages, a bunch of space pests sent by Knull to ruin everyone’s day. Because clearly, what this film series needed was more complicated space jargon.

Let’s talk about the cast. Chiwetel Ejiofor enters the fray as Rex Strickland, a soldier hunting Venom because of… reasons. He’s the type of character who’s got ‘government conspiracy’ written all over him, but he pulls it off with enough gravitas to make you believe he’s not in this for the paycheck alone. Then there’s Juno Temple as Dr. Teddy Payne, a scientist with a tragic backstory and, as it turns out, a symbiote sidekick of her own. And let’s not forget Rhys Ifans, who plays a hippie alien enthusiast (because sure, why not) and seems to be having more fun than anyone else in the cast. I can only assume he signed on to this film for the wardrobe.

Now, the action sequences? They’re everything you’d expect from a Venom movie—loud, chaotic, and filled with way too much CGI goo flying around. Venom spends a good portion of the movie punching, chomping, and body-slamming his way through enemies, all while delivering some truly bizarre dialogue that straddles the line between cringey and brilliant. There’s also an oddly touching dance sequence between Venom and Mrs. Chen in a Las Vegas casino because, apparently, this film decided to embrace the absurdity and roll with it. At this point, I wouldn’t have been surprised if they threw in a musical number too.

But let’s not gloss over the film’s pièce de résistance: Venom’s grand sacrifice. Yes, folks, the big guy decides to throw himself into an acid tank to save the world, which is just so… symbiote. You know, dramatic and selfless, in that “don’t think too hard about it” kind of way. Cue the emotional goodbye between Eddie and Venom, where the audience is meant to tear up (but probably just ends up laughing at the sheer melodrama).

The critical reception? Let’s just say the film continues to split audiences like a symbiote through a poorly written host. Some are here for the over-the-top action and Hardy’s committed performance, while others, understandably, are scratching their heads wondering how this trilogy made it this far. It’s received the classic “mixed reviews” treatment, which is basically critic-speak for “it’s a mess, but we’ve seen worse.”

Is it perfect? Absolutely not. But that’s never been Venom’s thing. It’s loud, goofy, and so far beyond the realm of sense that you almost have to admire it for embracing its own ridiculousness. Sure, by the end you might feel like you’ve been through a blender of plot points, but hey—at least it’s never boring.