Venom: The Last Dance (2024)

The review appreciates the unique tone and Hardy's chemistry with himself as Eddie and Venom, calling it a fitting sendoff despite being shaggy and silly.

The critic praises the goofy humour and big heart, noting the dopey charm of the odd-couple rapport makes up for a slapdash script, though the trilogy is probably ending at the right time.

The critic finds the film overly plotted but praises Tom Hardy's one-man-band performance as Eddie and Venom, noting the mild pleasures are overwhelmed by underdeveloped characters and plot elements.

The critic finds the film a hit-and-miss sloppy spin that confirms the Venom movies are like this on purpose, with Hardy’s elastic performance carrying much of the quirky buddy energy amid rushed plotting and tonal shifts. It singles out the yearning for better human connections and the fun but curtailed action for mixed notes.

The third Venom film is tonally inconsistent and fails to settle on a single mood, with unfunny jokes and a dull subplot involving a hippie family. It is not good but provides some coherent and entertaining chase sequences amid the overstimulation.

The film nervously sticks to formula instead of embracing weirdness, resulting in lame comedy and an under-explored emotional core about the Brock/Venom relationship. It wraps up the series as a disappointing globby mess that never fulfilled its potential.

The critic finds it another lacklustre, poorly written adventure that offers more of the same tired buddy-comedy and generic sci-fi elements, with the central relationship having become tired.

The critic calls it an unsatisfying franchise finisher where the banter lacks wit, the plotting is episodic and nonsensical, and it devolves into CG fights; much talent is wasted.

The critic argues the film is bad on purpose as well as accidentally, a smirk of a road-trip movie that gestures at regret and mortality but undercuts sincerity with silly digressions and unresolved future-plot hooks. It singles out Hardy’s hangdog performance and the gooey buddy comedy for limited credit amid the cynicism.

The review calls it the greatest love story in superhero movies but notes it ends on an entertainingly generic note, with Hardy having the time of his life as the bedraggled journalist paired with his gooey best friend. It singles out the central odd-couple relationship for praise while criticizing how Marvel-ized the film feels.

The review praises it as a spirited monster mash that streamlines the series’ darkly humorous approach into an intimate yet maximalist chase blending Thelma & Louise-style bonding with Starship Troopers gore. It singles out Hardy’s unglamorous, sentimental take on the deep friendship and the distinctive supporting turns and monster designs for praise.

Tom Hardy’s jaded Eddie Brock is a highlight as the split-personality buddy movie wraps up the series, but Kelly Marcel’s film is a sloppy, incoherent let-down with an existential and alien invasion plot that fails to cohere.

The critic sees it as more of the same in the trilogy, a diverting interspecies buddy movie for fans that leans into the cuddly, playful dynamic between Eddie and Venom with witty banter and shape-shifting antics. It singles out the charming rapport and fun action set pieces for praise while noting messier direction in the big fights.

The film is a suitably moronic conclusion to the trilogy and an old-school eyesore that is at least differently terrible from other recent Marvel entries.

It is dispiriting to see Tom Hardy reduced to a blank-eyed meathead in this awful third instalment, directed in her debut by Kelly Marcel with CGI blobs and an incoherent plot about a codex and intergalactic overlord.

The critic finds it a highly entertaining conclusion to the Venom trilogy that blends thrills, humour and emotion. It leans into the series' wild, chaotic energy without reinventing the genre but delivers as a crowd-pleaser.

The critic finds the film fun and enjoyable despite nonsensical plotting, praising Tom Hardy's charismatic performance and the light-hearted, self-aware tone.

The critic finds Venom: The Last Dance the best entry in the trilogy thanks to stronger comedy, emotional beats, and the strongest action sequences yet, but still hampered by uneven storytelling. The military subplot and underdeveloped side characters receive the most criticism for dragging down the fun.

The critic views it as a middling entry in the Venom series that struggles to justify its existence despite a strong cast and first-time director Kelly Marcel's focused, comprehensible action sequences. Silly moments like Venom disco-dancing to ABBA undermine any sense of threat.

The critic calls it a rushed, clumsy and lackluster finale that jettisons much of what made the prior entry fun. Tom Hardy remains a bright spot but the film overall feels unfinished and disappointing.

The critic finds the film abandons the weird, entertaining elements of prior entries in favor of tedious plot and exposition, resulting in a meandering and disappointing conclusion to the series with only a few charming odd moments. It feels like a lackluster way to say goodbye.