The Last Minute

outside of seeing this as auto-biographical for Norrington I can see it deals with his traumatic experiences with Blade. Then it got worse. On LXG. OK, Last Minute is not The Divine Comedy and it's flawed, but wow, what a trip !!! and sure it's personal, though i got turned off a bit by the whole techno approach.. One of the best scenes in a film I've seen in the last years is Jason Issacs doing his "I got you under my skin". It's an update of Malcolm Mc Doewll doing his "Singin' in the Rain" in Clockwork Orange. Or it's not. Then later Norrington pushes further repeating it with "when a man loves a woman". Anyway, as Gene Kelly was shocked, Frank must be spinning in his grave. Or he might get the sick fun. And I am not sure Dickens would have liked the Oliver Twist bit... As for this being put in the same category with Trainspotting, Clockwork Orange and Fight Club, I can't see why people are bother, try to describe a film using normal words. Coke, acid, Ecstasy gone bad or just anger and frustration puked out ?

all fueled out and hyper-pumped out, ah, and poetry finally... ///// as for latest rumors that Norrington quit making movies, hey Steve, don't get mad, get even ! ah, and one more thing-just don't get confused about Udo Kier's performance, it's a great cameo but just a cameo, same with Stephen Dorff.

A really weird, unknown and rare film that attacks you out of no where and strikes you to the bottom of the unpredictable downer pit.

Long story short, it is about a guy who is the new and hip guy, until he isnt and falls down to obscurity, including becoming a Junky. As you might already have written a couple of times about this film, there isnt much to read about it out there, it seems to be a semi autobiographical piece of work about its director Stephen Norrington (Blade, Death Machine, League of....), which even though i hope he didnt became an addict, who left directing & directing right after "League of... ", due to having again being traumatised and shattered by the studio system (you can look it up for yourself what went down). The film could and should be seen as a metaphorical dream turned nightmare turned re-awakening. Its themes of Fame, celebrety cult, creativity, ego centrecism, exploitation and much more couldn't be more relevant today, in the age of social media reality tv and talent shows where most of the western and eastern world seems to seek fame and attention like heroin addicts to an absurd extreme. We live in an age of people becoming famous for the sake of it without having any talents whatsoever and others for having video channels with millions of followers without doing anything more than reacting to other videos infront of the camera, people watching other people play video games and so on. The film indirectly predicts that obsession for attention and shows its aftermath that will come someday to whomever seeks that attention for whatever. What surprised me about this film was its sheer nihilistic madness and chaotic nature that until the very end doesnt quite seem to match up, by the end you'll understand and as only a few movies do this flick gets better the more you watch it.

Be warned this film ain't for the faint heart and especially is not for the traditional moviegoer, at times it reminded me of the spontaneous chaotic nature of Godard' s Breathless (make no mistake it is not near as good as Breathless). This film surely deserves more attention and a cult following, not many people have seen or do even know about that film, so i say spread the word for this bizzare and unique experiment called film

Stephen Norrington's "Blade" is undoubtedly a highlight of recent American cinema. It was one of the grandest blockbusters of the 90's - a powerhouse of trend-setting style and beautifully realized action sequences. Norrington proved to be an ambitious and promising director. It's unfortunate that he stumbled with his follow-up. "The Last Minute" is scatterbrained, indecisive and consequently confusing and also too derivative of other hip directors (Danny Boyle, Guy Ritchie).

"The Last Minute" is semi-autobiographical of Norrington's experience with the entertainment industry. While it's confusing as to just what kind of "artist" the protagonist Billy Byrne is, it is clear that his exploits mirror that of Norrington's. Byrne is hailed as an up and coming genius, then almost immediately thrown out to dry by his employers, the media and all of his so-called friends. What's more, Bryne's old flatmate steals his career, leaving him with nothing.

In this dilemma, Norrington asks some very good existential questions about the true worth of an artist. There are plenty of brilliant artists living in every city of the world who never have and probably never will be recognized. Having mass appeal is key, as is circumstance, opportunities and luck. The artists who do make it are sometimes self-important, because they wrongly believe themselves to be completely entitled to the recognition they obtain. This shows that the true value of art is not determined by things like mass-appeal and critical praise. A better film would have stayed with these questions.

Norrington's account of a bought, sold and rejected artist is too complex, because its personal nature interferes with the larger themes and messages. First, Norrington shows a throw away entertainment industry that is fickle and disloyal, meaning many artists are bound to get stepped on. It is a nice set-up for a satire, but then the film takes a misstep by having Byrne realize that he had little life experience in the first place. The movie is then suddenly about Byrne's quest for personal experience and redemption, losing the satirical edge the film starts off wanting. "The Last Minute" is too personal for its own good.

The story then takes another step in the wrong direction by suddenly morphing into an Oliver Twist-inspired story about the underbelly of London. The biggest problem with this second act is that it was simply not credible. There wasn't a good enough motivation for the fame-hungry Byrne to actually live in complete destitution. It would have been more consistent for him to just observe poverty in order to obtain "experience." Another problem with the second act is the misconception that poverty is "reality". Its too easy, and also far-fetched, for Byrne to learn experience by being poor. Things get especially muddled when an action sequence (followed by a musical sequence) erupts, reminding the viewer just how lost the screenplay is.

The Christopher Guest movie "The Big Picture" was a similarly satirical look at a young Hollywood director. It share's "The Last Minutes" sense of magical realism, but is more effective in its clarity. Both movies use humor and absurdity to poke fun at and criticize the entertainment business, but "Big Picture" works so much better because it is consistent and concise. "The Last Minute" rambles and loses touch with its tone and purpose.

That's not to say Norrington's film is uninspired or dull. He is still high off his love of flash and glamor, exhibited in "Blade". He again uses stylish techniques like time lapse, jump-cut editing and extreme mood lighting to show the frantic atmosphere of big cities that leads to large-scale marginalization of many citizens. His cinematographer James Welland picks up where Blade's Theo van de Sande leaves off, beautifully using murky colors and quick dolly-in shots to create a constantly on-edge feeling. Norrington is brilliant in how effectively he brings all elements of production into a seamless whole.

Norrington's direction does falter in his overuse of Euro-trendy devices. There are bombastic musical sequences and over the top characters which feel way too similar to trends started by Danny Boyle, Guy Ritchie and Baz Lurhman. Norrington proved in "Blade" to be highly original and trend-setting himself, and has no need to borrow the quirks of other filmmakers. Let's not forget that this is one of the first guys to use pre-"Matrix" bullet-time.

It's a shame Norrington has claimed to have given up on motion pictures. After "Blade," he blew every chance he had to make another classic. "The Last Minute" shows a director who is unfocused, but passionate. Did mavericks like David Lynch not make the same mistakes early in their careers as well?

The Last Minute had the potential become something great. The synopsis of the film cited other titles such as "Fight Club" and "Trainspotting" yet I failed to make a connection. Yes, the main character is an overnight success. Yes, he wakes up and it's all gone. And yes, he falls into a life of crime and drugs all the while wanting to return to his cozy life as a star. So where does the Fight Club come in? The only thing I found to even be remotely like Fight Club was the main menu on the DVD. I could see a slight Trainspotting influence with the heroin but just because a movie has heroin doesn't make it a Trainspotting-esque movie. If they had let the movie stand on it's own instead of trying to cite all those past hit movies like "Bruises you like Fight Club", "Injects you like Trainspotting" etc. What is that? It's almost as if the director wanted you to compare his movie to those. And sorry mate, those are the future cinematic classics of our time. Anybody would be a fool to plaster all over their own movie that it's like Snatch and Lock,Stock and Resovoir Dogs etc. Those movies have huge cult followings so even if The Last Minute was a decent movie, the fact that the director was so hell-bent on drawing the Tarantino/Ritchie/Lynch crowd he in reality just drew a crowd of critics. I'm ranting now. As you can see, I didn't like this movie. No, I really didn't go into why, but that's only because it had so much potential. My review would better resemble a "woulda, coulda, shoulda". Bad movie.

The Last Minute is one of those truly rare motion pictures that deserves far wider recognition than it will ever get. How unfortunate. I'd never heard of the thing until recently stumbling across quite by accident. A virtual eye popping, roller coaster of a flick, it starts with a bang and never lets its hooks out of you. Visually, The Last Minute is as impressive a looking picture as I've ever seen.

The DVD extras are (mostly) exceptional adding to the whole experience as few extras features ever do. As darkly hilarious as it is, this "Minute" also packs quite an emotional punch. Kudo's to Mr. Norrington.

One caveat: Director Norrington wisely employs a terrific device by which we never know what our protagonist does to earn then lose his fame (director and star are on record as being at odds as to what Billy actually does). Were only that same thing had been employed on one scene. When Billy is told he doesn't want to know what's behind a certain, we shouldn't find that out either. Personally, I laughed (in horror, but laughed) at this scene but I know others who were put off of the movie altogether because of these few seconds.

Every other aspect of the truly most bizarre club "Prosthetic" is genius (as, actually is the moment in question, just too off-putting for most people). It is in this long scene at "Prosthetic" where perhaps the films most brilliant moment occurs – which is, of course, Percy "Sledge" breaking into the Sinatra classic "I've got you under my skin" while wreaking a gleeful malevolent stream of violence that is about as close to movie magic as we've ever seen.

Norrington has a cast that, quite simply, could not have been improved upon with Max Beesley giving a stand out performance as Billy – to watch the youthful energy of his clubby dance moves and the enthusiasm with which he embraces his burgeoning fame slip into confused despair, hopelessness and attempt at self redemption. Beesley has us routing for him even at his worst, for I think most of us can identify with Max's plight.

As the aforementioned Percy "Sledge" – Jason Isaacs is nothing short of terrifying, executing his violence with a Fred Astaire like grace and precision which is utterly disarming.

The Oliver Twist twist of the underground urchins with their modern day, more violent, Fagin (who doles out drug treats to the kiddies) is chillingly beautiful.

I also found the extended mad scene similar resonating strongly with Shakespeare's Lear – Max's meltdown/unhinging being so closely tied with what is happening in nature. Brilliant.

If "Minute" had been released theatrically stateside, I can't imagine it wouldn't do huge box office. There are audiences literally screaming for this type of originality. Hopefully, it's not too late to try. The seconds are ticking . . .