The Last Lullaby

The movie was enthralling at every twist and turn and despite the topic, that of a retiring hit man, it turns into a psychological perspective on being alone and making things right in a world that has gone wrong.

The chemistry between the actors is palpable, despite both characters being introverts, and is a testament to the talent of Alexander and Sizemore, as well as the writer and director.

The pacing and sound of the film hold you throughout and Goodman's approach is a breath of fresh air in a craft so often overly commercialized and mass produced.

It is like eating artisan baked bread without any preservatives versus a baguette that rolls off an assembly line. It is fresh, organic, and real.

I came across this movie on Amazon streaming, their listing says it is a 2021 movie. I thought "cool, a brand new Tom Sizemore movie." I don't know why they do that because it clearly is a 2008 movie. Still I found it to be an interesting viewing.

Sizemore is a retired hit man, by what we witness a very good one. By chance he witnesses a young lady being hassled by an ex boyfriend in a nightclub parking lot at night. He takes appropriate action, brings the lady to safety. However that gets the attention of the man who wants a job done, a hit on a lady and it will be worth $1,000,000. He takes it somewhat reluctantly.

Then something happens, he gets to know the lady, finds out she is a decent person, learns her backstory, and at some point decides he must reverse the hit. The people who hired him are the real bad guys.

Sizemore is good as he usually is. The story is well written and there is some pleasure in seeing the bad guys get what is coming to them.

Does he kill her or does he not? The Last Lullaby from first time feature film director Jeffrey Goodman holds you in suspense in the plot-driven film that has enough twists and turns to keep you on the edge of your seat. His casting is brilliant as Tom Sizemore's intensity and inner conflicts are so realistic that somehow the viewer finds himself pulling for this hit man. Sizemore's intensity contrasts perfectly with Sasha Alexander's vulnerability. His character Price has been hired to kill her, but how can you kill someone who has been a victim for so long? Goodman's treatment of the narrative by Max Alan Collins and Peter Biegen employs a brilliant combination of non-graphic violence against a pastoral, yet frequently menacing backdrop. His gorgeous panoramic shots contrasted with extreme close-ups is unusual in a film with this size budget. His deliberately slow pace enhances the suspense and is a much needed respite from the noisy,frenetic world in which most of us live. His audio is at the proper decibel level, and his choice and use of music is the best that I have witnessed in any recent film.

I predict great things for this talented director.

The Last Lullaby (2008)

Here's a film that reinvigorates the true moody, classic, slightly low-budget intensity of film noir. It's not latecomers like "Chinatown," Blood Simple," or "Mulholland Drive," which are strong movies on their own terms (and often waved as recent film noirs). "The Last Lullaby" survives and penetrates on the essence of a good noir--a leading protagonist who is lost in the world, a mysterious set of forces out to take him down, a leading female with dubious intentions, and gloomy dramatic filming to create a mood of uncertainty and, frankly, dark elegance.

This is a kind of masterpiece that I think will grow over time. Like some of the great noirs (to keep this theme going for just another thought), the first impression might be flawed, as if there is something too forced and stylized and sometimes even clunky going on. But this is part of what makes for style, and style is what makes for a lasting, unique movie. Think of "The Big Heat" or even "Double Indemnity." (For some reason, "Point Blank" with Lee Marvin comes to mind as as somewhat newer parallel).

Tom Sizemore makes the movie. He's a hit-man seemingly drifting out of the business, but having nowhere to go or nothing to do with himself. And then his skills get called into play, almost by instinct. Sizemore manages laconic better than anyone. He's not weary, exactly, but indifferent because of a long violent life. (The actor might be remembered best for his terrific role in "Natural Born Killers," a good pedigree for this movie.) And of course he meets a woman in an unlikely way, and the plots twists and twists.

But it doesn't spin out of control thanks to Sizemore's steady and yet expressive and really subtle performance. And the woman, played by Sasha Alexander (tons of television, including 20 episodes of "Dawson's Creek"), who has more depth and restraint than you'd expect in this kind of role. In fact, part of the whole thrill of the movie is the way the two leads, who make up nearly every scene, are so low key even as the events are bloody and out of control in their violence.

The cast, crew, writers, and so on are all relatively new, or coming from modest careers. That they all collide and make something this special happen is one of the thrills of collaborative artmaking--movies, above all, with so many components to go wrong, or to go right. You might not find this to your taste, but if you do, it might be one of the great surprises of the year. It was for me.

This is a good movie. Compared to your average "blockbuster" thriller movie that comes out in theatres these days, I would consider it a great movie. There is some serious violence, which, while cool (from your average guy's standpoint) does not detract from the movie's purpose, which is to delve deep into the souls of the two main characters (who give great performances, by the way). This is done quite effectively with the help of unique cinematography and mesmerizing sounds (which includes some long periods without dialogue).

If you like the mystery/thriller, I don't think you could help but enjoy this one.