Who doesn't like a little bleak apocalyptic sci-fi every now and again? Pinpricks of fading hope are all but imperceptible amidst pervasive despair, and a remote outpost of humanity grapples with the madness of their circumstances and deep conflict of personalities. The details may differ slightly, but the scenario is very familiar. And why wouldn't it be - at the increasing rate at which humans are destroying our only planet and tearing ourselves apart, it's not a question of "if" but "when" cold hard reality mirrors science fiction, with a disparity of degrees and not whole numbers. Such sad truths inherently diminish the abject "entertainment" value of pictures like this, though that's not to say they can't be well done and satisfying. And sure enough, 'Last sentinel' is very sharply made, with admirable production values befitting what we would expect of any modern feature, and a couple recognizable stars. It's not specifically remarkable in any way that will set it apart from like-minded titles, but if one is in the mood for a thoroughly depressing movie and appreciates the space this plays in, it's a compelling, absorbing film and well worth checking out.
It's Kate Bosworth and Thomas Kretschmann who carry the star power in this small cast, but co-stars Lucien Laviscount and Martin McCann are noteworthy in their own right. Everyone gives strong performance of tightly controlled nuance, range, and poise, ably bringing their characters to life with a beleaguered tenor of wilting strength befitting the dour premise. This is hardly a major studio title, yet it looks, sounds, and feels as excellent in its craft as any contemporary flick. From the sets and props, to the filming location, to the post-production digital creations that round out the setting, the world of the picture feels tangibly real; the hair, makeup, and practical effects are just as swell. I claim no familiarity with director Tanel Toom, but in my mind he illustrates a keen eye for shot composition at points, and there's otherwise a calculated precision in his orchestration of shots and scenes that at the same time allows the downcast emotions of the tableau to manifest very naturally. Mart Ratassepp's cinematography is similarly crisp and vivid, and while the use of music herein is deliberately sparing, letting resounding quiet reign supreme, it commendably lends to the tone and tension at any given point where the chords do crop up.
If there are any sticking points here, one might be some disjointed sequencing that comes late in the length as major story beats are revealed. More generally, they might be in the writing. It's not that I find any specific fault in Malachi Smyth's screenplay - on the contrary, by and large I think it's superb. The characters are complicated, with real feeling and personality; the dialogue has some punch to it; the scene writing is as firm and carefully considered as Toom's direction, rife with simmering tension as each beat shapes the whole. And once more, while 'Last sentinel' works within well-established genre territory, the scenario is primed and ready for exploration, and the narrative that Smyth lays before us is unflinching in its gloom while nevertheless keeping us invested to see where it's all going to end up. I think I take some issue with the exact form of the narrative, however. There are many directions in which Smyth could have taken his story, and one would have been just as dreary as the next. I note, however, that one element (in senses both literary and classical) that is introduced as a major component early on is not subsequently brought back; there's nothing inherently wrong with this, but in the very least it feels like a miscue, if not a missed opportunity. Alternatively, the tale could have shifted to a purposefully languid, drawn-out path that would have left uncertainty and questions to linger interminably, not to mention the most joyless and arguably impactful of feelings. There was also the choice of focusing even more heavily on conflict between the four central characters. Smyth instead chooses a more thriller-oriented formulation for the plot, one that as it presents feels marginally disordered, and perhaps a bit more common. Rest assured, the feature remains just as lightless as written - only, for my part, I'm not entirely sure that it's the most completely entrancing slow spiral of dispiriting sobriety as it could have been.
Still, while one may reasonably nitpick about one facet or another, overall I think the film is solid, with quality that handily outweighs subjective flaws. I don't think it's totally perfect, nor a must-see by any means. Personal preferences will vary, and I can understand how it won't appeal to all. I nonetheless remain a little surprised by the apparent middling reception this has gotten, because what weaknesses it might have are minor and few in comparison to its value in terms of both storytelling and film-making. To each their own, however. All I know is that I sat to watch with mixed expectations, and ultimately I'm rather pleased with just how good the end result is. Even if one is a diehard fan of someone involved I don't think this is a movie that demands viewership, but it benefits from capable, worthy contributions from all on hand, and in my opinion is a fine addition to the genre. I, for one, quite like 'Last sentinel,' and while it decidedly requires one to be in a particular mood to watch, I'm glad to give it my recommendation.
It's Kate Bosworth and Thomas Kretschmann who carry the star power in this small cast, but co-stars Lucien Laviscount and Martin McCann are noteworthy in their own right. Everyone gives strong performance of tightly controlled nuance, range, and poise, ably bringing their characters to life with a beleaguered tenor of wilting strength befitting the dour premise. This is hardly a major studio title, yet it looks, sounds, and feels as excellent in its craft as any contemporary flick. From the sets and props, to the filming location, to the post-production digital creations that round out the setting, the world of the picture feels tangibly real; the hair, makeup, and practical effects are just as swell. I claim no familiarity with director Tanel Toom, but in my mind he illustrates a keen eye for shot composition at points, and there's otherwise a calculated precision in his orchestration of shots and scenes that at the same time allows the downcast emotions of the tableau to manifest very naturally. Mart Ratassepp's cinematography is similarly crisp and vivid, and while the use of music herein is deliberately sparing, letting resounding quiet reign supreme, it commendably lends to the tone and tension at any given point where the chords do crop up.
If there are any sticking points here, one might be some disjointed sequencing that comes late in the length as major story beats are revealed. More generally, they might be in the writing. It's not that I find any specific fault in Malachi Smyth's screenplay - on the contrary, by and large I think it's superb. The characters are complicated, with real feeling and personality; the dialogue has some punch to it; the scene writing is as firm and carefully considered as Toom's direction, rife with simmering tension as each beat shapes the whole. And once more, while 'Last sentinel' works within well-established genre territory, the scenario is primed and ready for exploration, and the narrative that Smyth lays before us is unflinching in its gloom while nevertheless keeping us invested to see where it's all going to end up. I think I take some issue with the exact form of the narrative, however. There are many directions in which Smyth could have taken his story, and one would have been just as dreary as the next. I note, however, that one element (in senses both literary and classical) that is introduced as a major component early on is not subsequently brought back; there's nothing inherently wrong with this, but in the very least it feels like a miscue, if not a missed opportunity. Alternatively, the tale could have shifted to a purposefully languid, drawn-out path that would have left uncertainty and questions to linger interminably, not to mention the most joyless and arguably impactful of feelings. There was also the choice of focusing even more heavily on conflict between the four central characters. Smyth instead chooses a more thriller-oriented formulation for the plot, one that as it presents feels marginally disordered, and perhaps a bit more common. Rest assured, the feature remains just as lightless as written - only, for my part, I'm not entirely sure that it's the most completely entrancing slow spiral of dispiriting sobriety as it could have been.
Still, while one may reasonably nitpick about one facet or another, overall I think the film is solid, with quality that handily outweighs subjective flaws. I don't think it's totally perfect, nor a must-see by any means. Personal preferences will vary, and I can understand how it won't appeal to all. I nonetheless remain a little surprised by the apparent middling reception this has gotten, because what weaknesses it might have are minor and few in comparison to its value in terms of both storytelling and film-making. To each their own, however. All I know is that I sat to watch with mixed expectations, and ultimately I'm rather pleased with just how good the end result is. Even if one is a diehard fan of someone involved I don't think this is a movie that demands viewership, but it benefits from capable, worthy contributions from all on hand, and in my opinion is a fine addition to the genre. I, for one, quite like 'Last sentinel,' and while it decidedly requires one to be in a particular mood to watch, I'm glad to give it my recommendation.