3 out of 5
The title of Tom Hardy's new Marvel movie, "Venom: Let There Be Carnage," serves as a clear indication that it marks the conclusion of the Venom franchise that initially took flight in 2018. In the hands of Ruben Fleischer, the first installment of the series managed to establish a solid foundation through its engaging origin story. Subsequently, Andy Serkis took the helm for the sequel, which lived up to its title by delving into a realm of complete chaos and destruction, portraying a narrative that seemed irredeemable. However, with the third installment, the franchise finds its way back to its origins, delivering a narrative that strikes a balance between entertainment and closure. The "threequel" manages to recapture the essence of the original film, offering a moderately enjoyable experience that serves as a fitting conclusion to a journey that has been filled with twists, turns, and, of course, symbiotic mayhem. Through this evolution, the Venom franchise has come full circle, providing fans with a satisfying resolution while leaving the door slightly ajar for future possibilities in the ever-expanding Marvel universe.
Venom: The Last Dance is helmed by Kelly Marcel, who has been associated with the franchise since its inception as the head screenwriter. The threequel of the testosterone-fuelled Venom franchise marks her directorial debut, yet it benefits significantly from her female gaze – she's also written Fifty Shades of Grey and Cruella. Kelly peppers the film – particularly the banter between Eddie and the Venom symbiote – with moments that are sweet, funny, unconventional, and even moving. For example, Venom looking at the Grand Canyon and suggesting Eddie to take retirement and refuge there. Or Venom screaming “horsie horsie horse” with joy after spotting the animal in the middle of nowhere. Or Venom putting on his dance shoes and shaking a leg with Mrs Chen to ABBA's Dancing Queen. Or Venom hoping to touch down in New York so that he can catch a glimpse of the Statue of Liberty – the lady who welcomes all visitors to America. Hell, we even see Venom tear up by the end of the movie.
Also, since Kelly has been writing the Venom movies for six years now, she's well-versed with the conflicts and layers that come with them. So when Eddie kills a woman army officer in self-defence – without any symbiote to put the blame on – he realises how he's turning into Venom even when the symbiote doesn't hold him captive. Eddie goes on to save several other lives by the end for redemption, but that doesn't make the hero in him look down upon Venom. “We are Venom” isn't just a superhero punchline to throw around – it's a way of life. Venom is as much a part of him as much as darkness is a part of all of us.
Despite this fresh gaze and layered approach, I'd urge Kelly to not get tempted enough to write another Venom movie. The franchise has exhausted its possibilities and can take a backseat now. Andy Serkis, who directed the terrible second part, is the voice of Knull – the new supervillain who's even “older than the universe” – in this part. He teases a return, but one hopes it's for another property in the franchise because Venom has run its course.
In the age of multiverse storytelling, it feels rebelliously satisfying if a franchise or a character completes their arc. One can hope that Tom Hardy as Venom can hang up his symbiote now, and he doesn't end up resurrecting himself for the sake of a Deadpool & Wolverine-kind cash cow. After this fitting last dance, can Eddie and Venom please rest in peace?
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