PIC of the Week – The Last Movie Star
Article series by Ray Schillaci
Perhaps I’m in a schmaltzy mood. I vacillated dramatically over two films this week: The Greatest Showman and The Last Movie Star. Neither one of these films rated high with critics, but they won over their audience big time.
Hugh Jackman’s The Greatest Showman was a passion project for years. The idea of telling P.T. Barnum’s life as a musical thrilled Jackman, and Broadway had a very successful run with the musical Barnum. TGS echoes the old movie musicals and throws the real life showman out the window, romanticizing his life story and making him out to be a man of “unique” people. This largely angered critics along with pop tunes that seemed out of place for the period of the musical. That all being said, providing you’re not overly critical and you’re a somewhat sensitive individual as I am, you may find yourself joining the crowds who love this film.
The Last Movie Star has a wondrous feel of nostalgia, and is unabashedly filled with sentimentality. Perhaps that is what has turned critics off, watching the guy every guy wanted to be (at one time), Burt Reynolds, in his eighties reflecting on what his character (and himself) was, and what he has become. We love his laugh, his smirk, his bravado, but some may not want to see him well up in tears or struggle down a supermarket aisle with a basket debating buying prune juice. But, damn if it isn’t reflective, sweet, and still funny at times. And, that is why the Lionsgate Blu of the latest Burt Reynolds film edges out as the PIC of the week.
Does the movie come with baggage? Sure, a load of it. But, that’s part of it’s charm and director Adam Rifkin does an admirable job bringing out the best in his star. If you’re a fan of Reynolds from his days portraying Native Americans and cops (Fuzz, Navajo Joe), if you’ve enjoyed his humor from some of his more funnier roles (The Longest Yard, The End) or even relished the days of his box office hits (Deliverance, Smokey and the Bandit), this is a movie you cannot help but like.
Reynolds plays an over-the-hill action star, Vic Edwards, who’s been discarded by Hollywood and the types of women he use to woo. He was a man’s man, a college football star, and a stunt double for a leading man. He’s also just been informed that he is the recipient of the Lifetime Achievement Award in Nashville. His agent, played with wide-eyed enthusiasm by Chevy Chase, encourages him to attend and accept the award near the town Vic grew up in.
But, as it turns out, Vic is given a tattooed punker, a very annoying, funny and eventually cute turn by Ariel Winter as Lil McDougal, who could give two sh*ts as to who he is as she drives him around in her beat up car, drops him off at a dive hotel, and takes him to the film festival which is run by a group of young fans (and the ceremony is held in a bar). The disappointment is crushing for both Vic and the fans as he lashes out at them. It’s a sad and serious moment that truly feels uncomfortable.
Later, Vic opts to skip his own retrospect, and insists on having Lil take him around the tow he grew up in as he reminisces about his life before stardom. This is where Reynolds really shines, along with his turns playing against the young version of himself from famous movies. It’s a nice trick, but it’s his sincere reflection that grabs our heart. Warning: for some this may be a three hanky movie.
Lionsgate gives us a Blu with a 1080p transfer delivering a nice clean picture that really captures Reynolds aged look. Although, the ratio is slightly off from the original print, from 2.39:1 to 2.40:1, it makes little difference. Audio is AC-3, DTS Surround Sound that happens to have occasional short bursts of energy that may surprise some with reminiscent action scenes. Sadly, Lionsgate provides very little in the extras department. How glorious would it be if we had Burt reflecting on the film along with those that played opposite him. Even some outtakes would have been priceless. Instead we get…
¥ Deleted scenes
¥ The Best Is Yet To Come: a featurette by director Adam Rifkin
¥ Feature audio commentary by Rifkin
Best Price – Barnes & Noble – $20.60
