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Pretty young people are sad about the end of everything, but there’s no urgency and little emotional authenticity to any of it. We’ve seen this before, pulled off with far more affecting feeling.
Apocalyptically sorta-satirical, bone-deep terrifying slap in the face that humanity has properly earned. Formidable, intense… and funny, in a very dry way that is nevertheless difficult to laugh at.
Filmmaker Amy Seimetz evokes a taut, cursed mundanity, an allegorical contemplation of culture at its most basic level: when it fails and everyone is hopeless. Accidentally hits our pandemic mood.
It’s the end of the world. Finally, a legitimate reason for a man to experience emotion. We’ve seen this all before… except not quite so ridiculous.
The heightened emotions and outrageous urgency of rom-coms are actually appropriate here. All the absurdities that define the genre — not accidentally but deliberately — suddenly work in its favor.
We know how it is: You’d like to go to the movies this long holiday weekend, but you won’t be able to move off the sofa after all that turkey, plus: football! But you can have a multiplex-like experience at home with a collection of the right DVDs. And when someone asks you on Monday, … more…
But if you knew when we as a species were going to buy the farm, how would you spend your final hours? That’s the question Canadian filmmaker Don McKellar asks in Last Night, which he wrote, directed, and stars in. Sort of the flip side of movies like Armageddon and Deep Impact, Last Night focuses not on the heroes trying to save the planet from certain doom but instead peeks in at how ordinary people are facing the end of the world.
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