“Venom: The Last Dance” kicks off with the same irreverent style that’s made the character iconic—a weirdly funny anti-hero—though this trilogy finale seems conflicted, struggling to figure out what it really wants to be, and in the end, it falls a bit short of expectations.

The premise holds promise: Eddie Brock (Tom Hardy) and his symbiotic alter ego, Venom, are back, but this time they’re isolated and facing a burden that goes beyond earthly villains. After the last movie’s events, Eddie’s on the run, accused of crimes he didn’t commit, and ends up in the middle of a new battle, this time against creatures from his symbiote’s home planet and a dark entity named Knull. The story could have dived deeper into themes like isolation or the complexity of Eddie and Venom’s symbiotic relationship, but it takes narrative shortcuts, losing itself in heavy exposition and lack of focus.

Visually, the film continues in the familiar style, with a moody aesthetic that’s clearly inspired by the darker, serious side of superhero worlds. The cinematography tries to bring a dense atmosphere, but it clashes with the frantic editing, rarely giving scenes room to breathe. The action sequences, while intense, lose impact due to too many cuts and lack of clarity, which makes it hard to really see what’s going on. As a result, the film struggles to keep its pace, especially during symbiote battles that should be exciting but end up feeling like a vague CGI cloud.

The script, written by Kelly Marcel and Hardy himself, does try to go deeper into Eddie and Venom’s relationship, revealing a more vulnerable side to both. There are moments where we feel the tension and emotional strain of this relationship, like Eddie’s interactions with an eccentric family he encounters in the desert. But these scenes are short-lived, quickly sacrificed to push the plot forward, which leaves character development in the background.

As always, Hardy’s performance is in a league of its own. He brings a commitment to the role that’s hard to ignore, switching between Eddie’s fragility and Venom’s impulsive aggression with almost chaotic intensity. It’s interesting to see him portrayed as a “sloppy hero,” often barefoot, sweaty, and looking like he’s been through a week-long bender. But even with his efforts, the film can’t seem to keep up with him. Instead of fully embracing Hardy’s chaotic insanity, “The Last Dance” gets lost in the middle, unsure whether it wants to be a psychological horror-drama or an action blockbuster.

The villain, Knull, is another issue. Although his role is essential to the symbiote universe, he ends up underdeveloped, more of a distant threat than a truly intimidating presence. It feels like he could’ve been more than just a looming figure, saved for a potential future film. The story could have benefited from a more tangible villain, something Carnage delivered in the previous movie, but here that threat feels diluted and weightless.

In the end, “Venom: The Last Dance” has fun and even memorable moments, but it seems stuck between two genres, unsure of which path to take. The lack of focus and an attempt to introduce cosmic elements without proper development make it feel a bit disconnected. Longtime fans will get another dose of the Eddie-Venom dynamic that’s easy to enjoy, but it falls short of the potential this duo has shown before.