Review of Movie the Last Son

A group of barely existing characters find themselves on a collision course with each other, which happens in “The Last Son.”Director Tim Sutton, who is working on a script by Greg Johnson, offers striking visuals and convincing performances. But for the most part, this high-end Western is too much empty resistance to catch you.

Sam Worthington plays Isaac LeMay, a notorious outlaw who receives a disturbing prophecy from an ancient Native American in the Sierra Nevada after the 1800s: One of his children will finish him. Since he himself is a assassin with a penchant for Prostitution, the potential lawbreaker could be any number of people, so he decides to wander around the country to hunt and eliminate his offspring. You know, just to be sure. Worthington, the Australian star of “Avatar,” does a lot of darkness, peering into the distance under his bushy beard and fur coat. In this matter, we did not know that he was a villain, a character repeatedly shouts: “It’s the devil! The Devil!”But Worthington also changed his rich, resonant voice and instead spoke to the big rasp of a much older man, which is a distracting affection.

One of Lemay’s last remaining children is a delinquent as ruthless as he is: machine gun Kelly Cal, a bank robber whose temperament can quickly turn from gay to strong. The lanky actor/rapper, whose first name is Colson Baker, has an undeniable presence and swagger on the screen. But in a movement that really rolls his eyes, his character fires a machine gun not once, but twice. While LeMay is looking for Cal, Cal’s mother, Anna, asks him to be merciful in the brothel where she has worked and lived for a long time. Heather Graham plays the cliché with a heart of gold, but her performance and delivery seem too contemporary and out of place in this nineteenth-century setting.

LeMay is also looking for various bounty hunters, as well as a discreet sheriff (Thomas Jane) with a secret past who happens to have his own story with Anna. And then there’s the rare girl hiding under Lemay’s lenses: the silent Megan (Emily Marie Palmer), who lives in the woods with her reformed, church-faithful mother and her kind stepfather. Palmer has a directness in itself that is appealing, as well as a natural sweetness that is desperately needed in the film’s rugged landscape.

Johnson’s script is divided into chapters, but in each of them, the story winds between all these characters as their fate draws them to each other. For a story that is the classically heavy fabric of Greek tragedy, “the last son” unfortunately offers little tension or momentum. All participants take their time, which at least allows us to enjoy particularly picturesque views or the dramatic contrast of a campfire in the middle of a snowy forest. (David Gallego is the director of photography.) But the slowness worries us little about who lives or dies, or if the prophecy will eventually bear fruit. Fast and loud strokes accentuate the silence, as do the dark chords and bright Plinks of Phil Mossman’s heavy piano score, but these are more inconveniences than the source of thrills.

Eventually, James Landry arrives and rekindles things as Grayton, a member of the Willets gang who joins Cals’ efforts to finish his father before his father finishs him. Hebert has a playful and puppy-like manner, and his pleasantly talkative nature is a welcome change in the midst of sullen loners. He is so charismatic that you will wish he was gone all the time – but until then, it is also after.

Leave a Reply

Your email address will not be published. Required fields are marked *