Last Ride

Last Ride is well made and well acted. The cinematography is a treat.

Unfortunately the script lets the film down. The central character (played by Hugo Weaving) is just a bit too unappealing, just a bit too hard to relate to, just a bit too hard to empathise with, just a bit too selfish.

In a way the film could be compared to Clint Eastwood's A Perfect World. Both are stories about the last ride of father and son figures. But where in A Perfect World I felt sympathy for the fate of Kevin Costner's father figure, in Last Ride Hugo Weaving's father ultimately left me repelled. For me the film suffered for that and, for me, the fault was with the script.

I'm loving Australian cinema at the moment. It's showing a side of Australia we never see after years of Crocodile Dundee and Steve Irwin. I loved Kenny and loved Beautiful Kate even more. While I don't think it's quite in the same league as the latter, it's still yet another movie which shows the beauty of Australia's great outdoors.

But despite its visual warmth, the backbone of the movie is its dark story. It reveals itself gradually through-out the plot. You will hate Kev (the father), but there will come a point where you will actually come to accept him. Weaving is, as to be expected, solid and his co-star Tom Russell (Chook, the son) looks set to have a great future in the business.

It's a very good movie that you should check out if you get the chance. 8/10

According to the Screen Australia web site, some 45 Australian features were made in 2008, up from 25 in 2007. This movie is probably one of the better ones along with Sampson, My Year Without Sex, Disgrace, Mary and Max and The Black Balloon. It is an adaptation of a well-received first novel by Denise Young by a first-time feature director Glendyn Ivin, the sort of creative combination so beloved of our film funding bodies – "Here's $3 million, go away and play dears". In this case the result isn't so bad and the film does add something to the novel's story of a petty criminal's last sojourn with his 10 year old son across the Australian countryside, with the forces of law and order in hot pursuit. The novel set the action in outback New South Wales but the film makers removed the setting to the more spectacular wildernesses of northern South Australia for both artistic and financial reasons. The reason for Kev and his son Chook's flight, apparent at the start of the novel, is revealed only by degrees, which does add to the drama.

As others have noted, the father Kev, played with all lugubrious stops out by the lugubrious Hugo Weaving, is not a very likable character. Not only does he have serious anger management issues, he is pretty selfish and stupid – the sort of criminal one finds in prison rather than out of it. Having had a pretty sad upbringing himself he does try to do better as a father, but it is not easy for him, and it is not surprising his son becomes disillusioned. His son, despite all the fatherly incompetence, seems surprisingly normal – perhaps this is the result of an uncannily naturalistic piece of acting by Tom Russell, a child actor who is so good he doesn't seem to be acting. What does come across is that even bad fathers can teach good lessons, and that in the end we have to become our own person.

Greig Fraser's cinema photography featuring the Flinders ranges, Wilpena Pound and Lake Gairdner gives a majestic backdrop to what is a fairly small story – I thought it a bit like "And When Did You last See Your Father" would have been if it had been set in the Swiss Alps. Unlike that film, this one has a less angry tone. Poor old Kev can't really help being so inadequate, and he at least makes an effort for his son.

This was an interesting and watchable piece, but I can't see it doing well. Like a lot of similar realistic movies it deals with people at the margins of society, and frankly, most people aren't interested (escapist is a different story). I just wish the government film bodies would stop throwing money at first-timers to make stuff so alien to most people's experiences and of so limited relevance to whatever main steam Australian culture is. One the other hand, The Black Balloon and My Year Without Sex did deal with topics relevant to us all. Bring back David Williamson, I say.

I often drew a comparison between Last Ride and Clint Eastwood's Perfect World while watching the movie and even though Perfect World may be an overall better movie, something about Kevin Costner's character seemed always a little odd to me. So Costner playing a convict who is actually quite the good guy, but unfortunately misunderstood. More of a tragic figure than a ruthless villain who kidnapped a strange kid.

Hugo Weaving's character is not as likable as Costner's, but that's what makes him so special. He is real. He is a bad person, but the unfortunate circumstances made him that bad. He is violent, he is narrow minded, he is a coward, selfish and yet he does love his son and tries in his own way to do what he thinks is best for him. He tries in his own way to protect him.

Last Ride is certainly worth watching just for the two actors. Hugo Weaving is a great actor and he manages to create some sympathy for a very ugly character. Tom Russel is also very great and is throughout the movie very convincing.

The movie is slow paced. Very meditative. It's a road movie through the wilderness of Australia with an almost predictable, yet still very touching and heartbreaking ending.

It's not Perfect World, but it delivers something Eastwood's movie didn't deliver, at least for me. Last Ride is more authentic, more realistic and should satisfy the people who never really believed Kevin Costner's character.

This is a coming of age story of two people on a road trip. A man and a boy are elementally bound and separated through their own actions over the course of their intense journey . Each of their choices resonates as a life lesson. Context is revealed in the sparing use of flashbacks: like inexact memories, past acts are recalled in short swirls, and distancing, grainy, TV blue- hues. The characters' more intentional, real-time acts take place in the redemptive, sensually saturated landscape of the Outback. I found Last Ride to be more compelling than anything I've seen this year, with its lean dialogue, stunning cinematography, and great performances. It was so elegantly assembled, that I'm still aghast -this film is a prizewinner in my book. At the same time, I wonder whether I will need to lobby locally, so I can see it on the screen it deserves. It also recalled the more subtle, character-revealing aspects of Thelma and Louise. I saw Little Fish a few years ago, also featuring Hugo Weaving. That that film imprinted on me in a similar way, because it turned out to be an unexpectedly piquant dish. Last Ride is a feast of a film. Bravo, and thank you.