Oh, the tough decisions in life! Sam Worthington is married to Keira Knightley, but his colleague Eva Mendes wants him badly. I hate when I have to decide between Keira Knightley and Eva Mendes. Oh, Keira Knightley also wants to sleep with her ex-boyfriend, who's visiting for the day. Damn her. So selfish. By the way, that's the plot for Last Night, the movie I'm reviewing right now.
Last Night is one of those little movies you never know exactly why the filmmakers bothered making. They may have good acting, a well written script and an emotional center, but they never really accomplish anything, don't make a real impact on the viewer. They exist simply to exist, to showcase a story the director cares about but not much else.
There's nothing wrong with that, but it's unclear why we, the audience, should care.
Such is the case with Last Night. I already said that, but such is the case. The movie is about cheating, or the temptation to cheat. Audiences just love seeing redeemable characters doing unredeemable things. Always a subject that is very hard to pull off in a satisfying way.
For what it's worth, the movie's decent. The screenplay is pretty good, and believable. The interactions between the characters, especially those between Knightley and her ex beau Guillaume Canet, are especially strong and engaging.
But Last Night is about as memorable as my last Saturday night. That is, watching a couple movies and a baseball game between two crappy teams. It won't go down as a memorable event, and neither will the movie.
The acting is good, but not groundbreaking. Knightley is the best, but compared to her most compelling roles her performance isn't anything award-winning. Worthington does a fine job, but the movie doesn't allow us into his head the way it does his onscreen wife. Canet is very good. Mendes, unfortunately, is underutilized, her character intended to be more a sexy temptation than a fully fleshed character.
Last Night is a well made movie, but it offers nothing for audiences to bite their teeth into, nothing to make us remember this film a year, month or week from now. Writer/director Massy Tadjedin should be proud of what she's made, but that doesn't mean audiences should care.
Review by Erik Samdahl unless otherwise indicated.
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