Sony/Tristar's Venom: The Last Dance, written and directed by Kelly Marcel, based on a story she conceived with Tom Hardy, is the third (maybe final, solo-titled) chapter in the popular saga, with Hardy reprising his roles of investigative reporter Eddie Brock and the eponymous, hyper specimen that dwells within him.
For this submission, a multilegged, crab-like Symbiote is sent to Earth to locate an organic key that will set Knull, God of the Symbiotes, free. It just so happens that Brock and Venom possess the key. The crab-like thing stays on their heels, but it doesn't help, either, that the tenacious military is also on their backs. (For the record, Knull is played by expressive, character actor and director of Part II, Andy Serkis, but his screen time is limited, insinuating a setup for his resurgence in the Marvel Multiverse somewhere down the line.)
As part of Brock and Venom's Kimble-ish plight, they encounter an interesting cast of characters: a friendly, hippy family, led by Rhys (The Amazing Spider-man) Ifans' Martin Moon (accompanied by the likable trio of Alanna Ubach, Hala Finley and Dash McCloud); Peggy (Kung Pow) Lu's irascible Mrs. Chen, Chiewetal (Doctor Strange) Ejiofor's Venom-tracking Rex Strickland; Juno (The Dark Knight Rises) Temple's alien-specialist Dr. Teddy Payne; Clark (No Running) Backo's sentimental Dr. Sadie Christmas; and back for more anguished symbiosis, Stephen Graham's Detective Patrick Mulligan, aka Toxin. (Alas, Michelle Williams' Anne Weying and Reid Scott's Dan Lewis aren't around, nor is a by-chance Woody Harrelson's Carnage, but I suppose one can't have everything when it comes sequels that are already overpacked with substantial interaction.)
Though the plot holds a fair sum of extraterrestrial mythology, it mainly focuses on Brock and Venom sliding from situation to situation, as the Symbiote's pursuit progresses. This, in turn, prompts a lot of Venom popping out of the fleshy woodwork to guide (and prod) his human host, all in perfect step with Dan Deacon's vibrational score.
One of the best scenes is found in the trailers, where Venom transforms a horse into his inky semblance, with Brock being dragged along for the ride. (It's energetic and funny, even if its outlandishness might be a bit much for some.) Another spiffy scene occurs when Venom dances with a dolled-up Mrs. Chen in a metaphoric, Las Vegas segue. (Yeah, it's kind of out there, but if one enjoys the glitzy interludes of Joker: Foile a Deux, it works.) The most endearing scene, however, is when Venom accompanies the Moon family in a sing-a-long of David Bowie's "Space Oddity." (The song is melodious by nature, but all the more bittersweet coming from the family's "tin can" minivan.)
Right now, some are calling Venom: The Last Dance the best of the trilogy, with a derisive smattering reluctant to give it much love, but let's be honest, the previous movies were far from snob-proof. The Venom, cinematic universe must be taken for what it is, with an overabundance of goofy and chaotic push and shove. (In my estimation, that makes the Venom movies slimy equivalents to Deadpool's.) All the same, if the Venom scene isn't one's cup of Marvel tea, well, then it's best to skip this third chapter altogether or at least wait until it's available for rental. On the other hand, for those who dig Venom's hijinks, this chapter should suffice as an apt, monsterized entry for Halloween.
(Oh, I wanted to mention that, contrary to all the hype, the end-credits segment isn't the Spidey-trio gathering that was hoped for, which is kind of a bummer since Sony/Tristar has made no effort to dispel this ubiquitous dangler.)
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