As a movie reviewer who’s spent more time than I care to admit watching superhero movies that should have stayed on the comic pages, let me tell you about “Venom: The Last Dance.” This film is like a rollercoaster ride through a funhouse mirror, reflecting a twisted reality where the line between sanity and insanity blurs.
In ‘Venom: The Last Dance’, we find ourselves at the conclusion of the Marvel movie saga featuring an extraterrestrial character with a helmet, terrifying fangs, and a tongue reminiscent of Gene Simmons. This time around, our lead actor is a highly-compensated Method performer who becomes one with this peculiar creature. Given that this is the climactic chapter, director Kelly Marcel (who co-wrote the previous Venom films and penned this one as well, marking her directorial debut) might have felt a sense of unbridled freedom. As you take in ‘The Last Dance’, the movie seems to blur the line between pushing boundaries and leaping over the proverbial shark, opting instead for an exhilarating ‘Why not?’ approach.
In the sequel “Venom: Let There Be Carnage” (2021), the dynamic between the extraterrestrial being and its human host, the former investigative journalist Eddie Brock (Tom Hardy) who collectively forms Venom, has evolved into a humorous, secondary superhero rhythm. The movie “Venom: The Last Dance” continues this trend by embracing the buddy-comedy genre, with Hardy’s weary, slurred Eddie serving as the straight man to the alien’s jovial antagonist, reminiscent of Darth Vader on stimulants. Or perhaps it’s just that the alien, with its deep, booming voice, knows how to have a good time. It seems as if the alien was placed on earth to outshine its host, given how it steals all the best lines.
In this movie titled “The Last Dance”, when Eddie suggests they must journey to New York, his alien companion responds excitedly with “Let’s hit the road! Road trip!” Their adventure takes an unexpected turn when they encounter what seems to be the last family from the 70s in America, headed by Rhys Ifans as Martin, a peaceful UFO enthusiast, who is traveling with his family in an old Volkswagen van en route to the mysterious Area 51. Upon seeing their children, the alien foretells “a future filled with therapy sessions”. When Martin pulls out a guitar and serenades everyone with a rendition of “Space Oddity”, the alien expresses his enjoyment by saying, “This is my favorite tune!” The events that unfold in Vegas are equally intriguing. In a casino, Eddie crosses paths with Venom’s old friend, Mrs. Chen (Peggy Lu), who owns a convenience store and has an unusual fondness for gambling. She and the alien share a captivating dance duet to “Dancing Queen” in her suite. This is one of those moments that should remain in Vegas, and such is the nature of the film “The Last Dance”.
However, I’d like to steer away from the main topic as there’s a common apocalyptic narrative here, complete with a cosmic antagonist and frequent monster skirmishes, reminiscent of countless stories you’ve encountered. Despite Andy Serkis lending his talent to the role, it might as well be an automated voice portraying Knull, who bears a resemblance to the Crypt Keeper or Bret Michaels with his head down. Knull has been imprisoned by his symbiote family and can only be freed if he obtains the Codex, a mystical artifact currently within Venom’s body. This struggle between the alien and human aspects of Venom will persist until one of them meets their end.
As a devoted fan, I can’t help but describe the scene where Knull unleashes a swift, spindly creature reminiscent of a character straight out of a “Starship Troopers” sequel. This terrifying being, with a head resembling a demonic soft-shell crab and multiple legs and tails, seems to have wandered off from its original path. It consumes humans in much the same way some people devour ramen, leaving a trail of horror in its wake. By the climactic battle, numerous more of these monsters are on the loose. It’s crucial to note that if Knull ever obtains the Codex, he has sworn to extinguish all life throughout the universe. Upon learning this, Chiwetel Ejiofor’s tough-as-nails General Strickland swiftly sets his course: he aims to annihilate Venom before Knull can seize the Codex.
However, the situation becomes confusing when Venom appears at Area 51, a massive lab set for closure by the US government. Juno Temple portrays Dr. Payne, a scientist who remains convinced about the extraordinary potential of the alien substance she’s researching. When Stephen Graham, reminiscent of Alex Jones, reappears as Patrick Mulligan and metamorphoses into the Christmas-green alien hybrid Toxin, she finds him particularly appealing.
As a movie enthusiast, I’ve found myself drawn into Sony’s Spider-Man Universe through the “Venom” films. It seems that Tom Hardy, since his debut in the first “Venom”, has opted to inject a touch of irony into his role by portraying Eddie as a character teetering on the edge of goofiness, reminiscent of an adult version of the Bowery Boys. This unconventional approach has indeed struck a chord, maintaining a playful tone throughout the series. Yet, it’s also ensured that these “Venom” movies remain nothing more than a fun diversion, catering to the nostalgic whims of fanboys: the more wit and CGI effects, the merrier.
The movie isn’t too lengthy and it ends within 90 minutes, excluding the credits which feature a rather unenthusiastic teaser. Some viewers might find it touching, but I didn’t quite feel the emotional connection that symbolizes a lasting friendship between Eddie, the alien, and Venom, given our prolonged encounter with their oil-slick thrashing tentacles. The movie offers a nostalgic recap of Venom’s significant connections, accompanied by Maroon 5’s “Memories,” and I can only describe this segment as being on the brink of a “Saturday Night Live” skit. The Venom series has been profitable and occasionally entertaining, but I wouldn’t use the term ‘excellent.’ Instead, they serve as fillers in the comic-book world, fulfilling their purpose. They also serve as a cautionary tale about what can occur when an extraordinary talent like Tom Hardy gets absorbed by the corporate filmmaking beast.
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2024-10-23 23:21