I wish people would stop using "plot hole" incorrectly. A plot hole is an inconsistency in narrative, character, etc. Lando went to get help, and he returned with it. That's perfectly consistent. Not knowing how he did it is simply a missing detail, not a plot hole.

I'm not defending the storytelling, but if you're going to be an author, understand what you're writing.

Let me explain #4 for you.

The couple is having a picnic, which would imply daytime, but the sky is black, implying night. The circle behind the cloud is the sun. The "antenna" are supposed to be the broken filament inside a burnt-out incandescent light bulb, indicating that the sky is dark because the sun was a giant light bulb that just burned out.

We shouldn't be surprised. People overwhelmingly don't understand what a "retcon" is, including most of the writers here. Sliding Tony Stark's Iron Man 1960s origin forward in time is a retcon. Continuing a story is not a retcon, nor is adding details to or filling gaps in an existing story.

Vinciquerra is embracing self-deception. I avoided critic reviews, was excited for Madame Web and new versions of 4 different Spider-Women, and was disappointed in the theater because it was a poorly made movie. Critics didn't make it bad. Streaming didn't make it bad. It was just bad.

I think Sony missed a massive opportunity in making the Spider-Women the main heroes of their franchise. Their desperation to have their own cinematic universe sabotages quality at every turn, but they might have had a fighting chance if they'd built the stories around likeable characters the audience wants to see succeed instead of a bunch of villains no one really cares about.

There was a meta-narrative across the films Zack Snyder was directing and producing that I was rather enjoying, precisely because it was fresh.

The point, as I understood it, was to show that the characters were just people, and they weren't yet the heroes they would become despite many having been around for a while. Bruce had become cynical and brutal after a decade of death and betrayal of the spirit. World War I shook Diana's faith in humankind. Clark's own journey to find a reason to care about larger humanity was to have been central in uniting the group and revitalizing their collective hope. It was a grounded way to explore the morality of heroes - their origins gave them their start, but their faith needed to be revitalized. They needed a reason to keep believing.

Perhaps if Snyder had found a way to foreshadow that journey more directly, a larger audience might have been engaged by it. I thought it had been well-developed by the end of Batman v. Superman. Bruce goes from talking with Alfred about how few people stayed good at the start, to declaring people were still good and worthy of faith. Diana acknowledged having turned away from the horror of war but was clearly re-engaging with the larger human race.

It's also interesting how few people really know the history of the heroes on the screen. Everyone decrying Zod's death clearly had no idea that, since the 1980s, it had been established that Clark had been forced to execute Kryptonian criminals, the trauma of which led him to rediscovering the Phantom Zone so that he'd never be faced with such a necessity again. Writers long ago realized that paragons of virtue aren't interesting as characters. Psychological complexity beyond "Ma and Pa raised me good" is necessary.

I thought the first Venom was the best. Last Dance has some good scenes and funny lines, but a scattered tone results in a listless story that doesn't build any tension. Switching randomly between funny and serious undercuts both. Since we don't have any time to care about the secondary characters, the big fight scene at the end lands flat. Watching a battle with a bunch of symbiotes we never knew bond with anonymously or barely sketched characters at the end has no weight.

Last Dance suffers from the same issue as virtually all Sony's Spider-Universe projects: sloppy direction, uneven tone, and no purpose.