Venom 3: Not Great, But Still a Hit

Over the past 25 years, superhero films have seen their share of ups and downs. We’ve had record-breaking blockbusters, critically acclaimed classics, and, of course, quite a few disappointments. But the Venom series stands out as a rare example of a franchise that turned low ratings into a full-fledged trilogy.

When it comes to critical reception, the Venom series has never quite hit the mark. Take Rotten Tomatoes, for example: the first film only managed a 30% score, the second climbed to 57%, and the third dropped back down to 37%—never quite reaching a passing grade. Still, despite the lukewarm reviews, the series has consistently held its ground at the box office. The first installment grossed $856 million globally, and while the second was not released in China, it still earned $506 million. The third installment managed to surpass $100 million within just two days, a stark contrast to Hollywood’s current trend of declining returns.

The film did not inspire much confidence from the beginning. Female director Kelly Marcel, previously known for her screenwriting work on Fifty Shades of Grey, was making her directorial debut with no prior experience in directing commercial films. The last time a screenwriter took on the director’s role for a superhero film, it ended in disaster: Simon Kinberg with X-Men: Dark Phoenix.

Moreover, female directors have repeatedly faced setbacks in the superhero genre since Birds of Prey, Black Widow, and Wonder Woman 1984. In 2022, the She-Hulk series, despite having an Avengers-level budget, failed to find its footing. In 2023, The Marvels set a new low for Marvel Studios, and in 2024, Madame Web received scathing reviews. With Venom: The Last Dance, it’s hard not to feel a sense of apprehension.

So why did Venom: The Last Dance manage to beat Joker: Folie à Deux’s entire weekly haul in just one single day?

One key factor is that it’s a classic “popcorn movie,” delivering pure entertainment. Over its 109-minute runtime, viewers never have to endure the kind of heavy-handedness you might find in more “serious” films. Instead, it’s easy to get lost in the fun. Don’t underestimate a good popcorn blockbuster. These days, it’s not easy for audiences to find a film they can rally their friends to see at the theater, kick back, and enjoy without getting tired of.

The infusion of nostalgia undoubtedly enhances the film’s appeal.

From the outset, the film establishes a nostalgic connection. Eddie (Tom Hardy) banters with a bartender, asking, “Tell me about that purple dude again—the one obsessed with stones?” This immediately brings to mind Thanos, the ultimate villain from the Avengers series, for all Marvel fans. This line is a clear callback, sparking fond memories among fans who are still attached to those iconic storylines.

The film isn’t just about nostalgia, though. It also slips in some clever, self-aware humor. One notable moment features an elderly man who looks remarkably like Martin Scorsese, a not-so-subtle nod to the director’s well-known remark that Marvel films are “more like theme parks.” Marvel’s response here is playful yet pointed, and when the audience catches the reference, it’s hard not to smile at the cheekiness.

And the humor? It’s all there. In one scene, Eddie plans to fly back to New York, and Venom decides to stick him to the outside of the plane. Eddie shivers in the wind, grumbling, “How does Tom Cruise do this?” This kind of playful jab at other Hollywood stars or blockbuster films is something you’ll often see in Marvel movies, and it’s no accident. It instantly makes the audience feel a closer connection to the movie’s characters.

The movie also expands its universe. It features epic symbiote battles that are visually impressive, and it corrects some of the mistakes of the second film, which leaned too heavily on Venom and Eddie’s bickering. This time, their relationship deepens, moving from slapstick comedy to genuine emotional connection.

Unlike traditional superhero films, the Venom series does not focus on grand narratives of “saving the world.” Instead, it emphasizes individual emotions and choices. Perhaps due to the perspective of the writer-director Kelly Marcel, this Venom installment doesn’t emphasize traditional masculine heroism. Instead, it focuses on the bond between Venom and Eddie. The movie isn’t about a hero’s farewell; it’s about two friends saying goodbye. Throughout the series, Venom’s existence and his symbiotic nature drive him to find companionship. This theme is obviously more relatable to everyday life than the typical “saving the world” narrative, and Deadpool and Wolverine takes a similar route.

This theme is conveyed through the perspective of a child. During the final battle, the child witnesses Eddie transforming into an alien and has a conversation with him, reinforcing the film’s central message: we’re not so different from these aliens, at least in terms of emotions. While this theme isn’t new to superhero films, it feels particularly fitting in Venom, given the bond between Eddie and Venom. As the film’s slogan says, “Till death do us part.”

Despite its strengths, Venom: The Last Dance isn’t without its flaws. It shares many of the same issues that plague other Marvel films, such as logical gaps in the plot and poorly developed explanations. The villain, Knull, was sealed away by a betrayal from his symbiote allies, and he sends alien creatures to find the key to his release. However, the film never really explains how the key is connected to Venom. Instead, it suddenly informs viewers that “the key is inside Venom,” and then adds a condition that the key only works when Venom and Eddie are fused. This lack of groundwork makes these twists feel forced.

Perhaps the success of Venom: The Last Dance’s opening day has less to do with the plot itself and more with its framing as Venom’s final chapter. This label invites audiences to be more forgiving, especially when they see Tom Hardy’s graying hair and deepening wrinkles—a poignant reminder of the passage of six years. This time around, Venom wasn’t shy about pulling at the audience’s heartstrings. For emotionally sensitive viewers, this kind of sentimentality is hard to resist. The nostalgia card has proven effective once again, following its success in Guardians of the Galaxy Vol. 3 and Deadpool and Wolverine.

But after playing the nostalgia card time and time again, what’s left for Marvel? Newer IPs like Ironheart in Black Panther: Wakanda Forever and the She-Hulk series from the same year have failed to gain traction. This suggests that in Marvel’s strategy, nostalgia is becoming less relevant, yet it remains essential to keeping the superhero genre alive.

So where does Marvel go from here? Instead of dragging out or resurrecting old IPs, maybe it’s time to create fresh, innovative superhero films with distinctive qualities that resonate with the times. Let the quality of the films stand on their own.

As for those classic heroes, maybe it’s time to let them rest and give audiences a break. No more digging up the past.