Switching gears from contemporary drama to what Variety once dubbed “oaters,” Tim Sutton’s “The Last Son” finds fresh life in a well-worn genre: Its striking visuals are accompanied by an oddly appropriate score led by droning, heavily distorted guitars; its occasional narration is winsome in a way that Westerns do best; and its evocation of an endlessly mythologized era feels authentic. But then Sutton goes and overplays his hand, the effects of which aren’t as disastrous as being caught cheating in a poker saloon, but they do leave you wondering what might have been.
“The Last Son” opens with lyrical narration and airy background music courtesy of Phil Mossman that brings to mind “The Assassination of Jesse James by the Coward Robert Ford,” though the comparisons mostly end there: Sutton’s movie isn’t elegiac so much as brutal. The voiceover returns to add mood and context from time to time,...
“The Last Son” opens with lyrical narration and airy background music courtesy of Phil Mossman that brings to mind “The Assassination of Jesse James by the Coward Robert Ford,” though the comparisons mostly end there: Sutton’s movie isn’t elegiac so much as brutal. The voiceover returns to add mood and context from time to time,...
- 12/9/2021
- by Michael Nordine
- Variety Film + TV
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