Directed by:
Jee-woon KimCinematography:
Ji-yong KimComposer:
MowgCast:
Arnold Schwarzenegger, Forest Whitaker, Rodrigo Santoro, Peter Stormare, Jaimie Alexander, Eduardo Noriega, Zach Gilford, Luis Guzmán, Johnny Knoxville (more)Plots(1)
After leaving his LAPD narcotics post following a bungled operation that left him wracked with remorse and regret, Sheriff Ray Owens (Arnold Schwarzenegger) moved out of Los Angeles and settled into a life fighting what little crime takes place in sleepy border town Sommerton Junction. But that peaceful existence is shattered when Gabriel Cortez (Eduardo Noriega), the most notorious, wanted drug kingpin in the western hemisphere, makes a deadly yet spectacular escape from an FBI prisoner convoy.
With the help of a fierce band of lawless mercenaries led by the icy Burrell (Peter Stormare), Cortez begins racing towards the US-Mexico border at 250 mph in a specially-outfitted Corvette ZR1 with a hostage in tow. Cortez’ path: straight through Summerton Junction, where the whole of the U.S. law enforcement, including Agent John Bannister (Forest Whitaker) will have their final opportunity to intercept him before the violent fugitive slips across the border forever. At first reluctant to become involved, and then counted out because of the perceived ineptitude of his small town force, Owens ultimately rallies his team and takes the matter into his own hands, setting the stage for a classic showdown.
(Lionsgate US)
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Reviews (13)
The people behind this film fortunately quickly realized that this won't be another Terminator 2 and that it won't work "directly" with Arnold anymore, so they went about it cleverly. Thanks to skillful editing and camera work, the main protagonist is quite watchable, although many other things here are downright hopeless. An awfully boring and generic villain, inconsistent action (excellently edited shots intertwine with horribly confusing and chaotic ones), uneven pace, average one-liners. Sometimes I felt a brackish feeling. Yes, self-parody doesn't hurt (sometimes there is nothing else left) and it's still quite alright, but don't expect anything groundbreaking. It's not in any way progressive or clever from a creative standpoint. Just an average action movie with a few very interesting chases in a cornfield.
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Jee-woon Kim's ability to make the viewer tolerate unbelievable plot twists and WTF characters and their motivations lies in creating a fictional micro-universe that, if you embrace it, gave you the experience the director wanted you to have. The Last Stand may have had all the makings to follow its predecessors in this, but somehow it all got screwed up. The FBI command room destroys the illusion of the fatalistic isolation of the heroes, the governor is an extremely inept actor (one you'd almost forget), and no one has drilled into the director's head enough that there's a marked difference between making a movie in Korea and the US. That's why some of the action scenes look pretty lame, even as the camera whizzes past on a crane when the characters are just standing around and talking. As a result, The Last Stand doesn't so much resuscitate Arnold's career, but the era of 90s B-movies with Van Damme, where main street stands in for an entire city, the supporting characters shoot the bad guys with one hand, fall in love with each other with the other, and the heroes don't give their honor away for free. I don't blame the director, though. Given that he still didn't know a word of English during filming, the blame clearly lies with his translator.
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Arnold portrays a character that would have very well suited John Wayne (a comparison with Rio Bravo is unavoidable). But whereas the Duke took building his own cult seriously, the former California governor exhibits a much better-developed sense of self-irony, which even pokes fun at the “untouchable” subject of patriotism. Schwarzenegger’s advanced age is a favoured target of the jokes in The Last Stand and the narrative is structured around the clashes between the slower world of the laid-back sheriff and the events of the action-packed world of national public enemies. Due to its having the nature of a comeback, The Last Stand is constructed as a return to genre traditions, so the old-school methods of the seasoned cop necessarily have a greater effect than the more modern techniques of the somewhat tardy FBI agents (though the sheriff also had to replace horses with Chevrolets for the purposes of product placement). The slightly overwrought screenplay uses most action B-movies clichés (angry emptying of clips, traitors in the ranks of the good guys) and fully utilises the fetishes that make the United States the United States (fast cars, high-power guns). However, the combination of western nostalgia and hyper-fast action works much less well here than in The Good, the Bad, the Weird. Probably because of the lower budget, the action scenes don’t go too overboard, the villain isn’t very distinctive and the film’s build-up is haphazard. All of the supporting characters merely clear space for Arnold, who – without exerting excessive effort – reaffirms his long-deserved place in the pantheon of great action heroes. Without him, this would be just a passable action flick shown on broadcast TV in which it probably wouldn’t occur to anyone to see an occasionally stimulating contribution to the discussion on the current wave of retro action movies. As with The Expendables, so with The Last Stand – whenever an action legend appears on the screen (only one such hero here, unfortunately), the entertainment value sharply increases. However, I am convinced that if Kim had had greater directorial leeway, this would have been a much more solid action movie in which the simply bad moments and the intentionally bad moments (in the mould of naïve actions flicks) would have been more easily distinguishable. As a new film starring Arnold, in the way we like him the most, The Last Stand is satisfying. As a new film by a South Korean master of many genres, it’s a bit of a disappointment. 65%
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The classic comes alive, maybe not to the same extent as in the hyped-up The Expendables, but enough to bring a heady and warm feeling to the heart of action fans with its pure character (lots of catchphrases, big guns, bad guys and fast cars) and straightforwardness. It's been a long time since I've watched an action film with such a likeable cast and such a great balance of humour, which can often outshine a cheesy cliché or logic hole. Of course, looming over it all is the great Schwarzenegger, a huge star who only needs to appear on screen and throw one of his trademark glances, something he still manages with absolute bravado. Stormare is fine as the bad guy, Whitaker was not a happy choice and Knoxville with his permanently open mouth has to be endured. But when I think of The Last Stand with the benefit of hindsight, all I can recall is a far-fetched and incredibly stupid B-movie, the kind we have seen in the hundreds, but this, believe me, can not completely refute any of the aforementioned positives. 65%
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If I had seen this movie ten years ago, I would have probably peed myself for sheer joy. I like great sports cars, slinky girls and mainly Arnold! I gained a couple more wrinkles on my face (but fewer than the Austrian oak, it must be said) and I want a few more. But it’s still more than just good fun and in some places it holds some very pleasant surprises. One definite asset is Jee-woon Kim, who squeezes the maximum out of it, with half an eye on old westerns, he is properly bloodthirsty and tries not to take the beaten track, but when he has to, he shows off about it. In terms of acting, this is the inoffensive standard playing supporting roles for old man Arnold who is exactly the way we like him best. Luckily, Knoxville doesn’t bother us much. There are a couple of really effective scenes that pull The Last Stand up to above average, the best of which is the ingenious chase through the corn field. Mainly, Arnold is back with all the trimmings, it’s a shame that more people aren’t visiting the theaters to greet him.
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