Review of The Last Word (2017) by Matt C — 12 Mar 2017

Sometimes I go into a movie wondering not if it will be good, but how much the actors involved will alleviate some of the pain. Shirley MacLaine and Amanda Seyfried are two actors that are good in everything they do and I find the latter to be really underrated, but just like a few good actions doesn't quickly redeem a person in others' eyes, actors don't redeem a movie if its script is a mess.

The Last Word could have been a subversive and witty tale about aging and mortality, but instead it tells a familiar cross-generational feel-good story with a bevy of underdeveloped, crowded subplots--one of which comes off as kind of racist--and inconsistent pacing.

It's the kind of movie that the main character herself would hate. Harriett (MacLaine) is a controlling and off-putting elderly woman who lives by herself, usually drinking wine and popping Klonopins to pass the time.

One day she stumbles upon the obituary section of the newspaper and, in an effort to take control of her life in a revisionist way, finds obituary writer Anne (Seyfried) and has her write one for her despite her still being alive.

Anne struggles given how much everyone in Harriett's life hates her, and along the way the latter imparts her wisdom and confidence upon the former. There are also a bunch of subplots thrown about including one where Harriett takes in an at-risk little black girl (Ann'Jewel Lee Dixon) because that'll make her seem caring and starts working at a radio station, and a relationship forming between Anne and the DJ of said radio station (Thomas Sadoski).

For a straightforward story, it's kind surprising how much of a mess it is. When discussing what works, one is more or less left to just mention the two main performances. MacLaine does her say-what's-on-her-mind assertive thing and pretty much owns the screen the entire time, and director Mark Pellington seems to sit back and let her control the movie a lot of the time, which was likely a wise idea.

Seyfried is likable as always and brings a sensitivity to the character that isn't really on the page, but unfortunately she doesn't have much to work with. Supporting players such as Joel Murray and Philip Baker Hall give the movie more watchability than it would otherwise have, and while Pellington's direction doesn't do much, there are some nice shot compositions here where most scenes could have just a standard over-the-shoulder, A-B setup.

Otherwise, this movie is an idea stew, and not a tasty one. The script has an good central conceit but can't figure out how to tell it in a cohesive manner and the subplots, which are essential to the characters' growth, feel way too sudden and out of left field or just aren't fleshed out.

The pacing of the script is also instrumental to the movie's failures in that it either waits too long to introduce characteristics of a person or doesn't take its time in doing so, and some sequences, mostly in the second half, feel like filler with no reasoning other than killing time or letting wacky hijinks ensue, which add to the movie's increasing boredom.

The inconsistent pacing paired with the underdeveloped side stories make what should make sense in theory feel unmotivated at times. The movie also doesn't strike the balance of the cynicism of its main character and the feel-good messages that it spews out in the end, and again, the movie feels like a missed opportunity in how safe it is.

Also, aforementioned subplot about Harriett obligatorily taking care of a black child is not only entirely expendable, but the movie doesn't portray her actions with any sense of irony or self-awareness.

The script is complacent with Harriett's actions, and making a person of color--which the movie really wants you to know--into a stereotyped prop feels a little racist as a result. The Last Word is a waste of a concept and generally doesn't let its actors live to their potential, and it just doesn't feel like enough effort was put into telling this story to make sitting through it worthwhile.

While the direction is okay, it gives nothing to really talk about, and the sound design and mixing feels incomplete. Almost the entire movie, aside from the acting, has an air of "yeah, that's good enough".

It's a shame because this is a movie that, although I wasn't expecting much from, wanted to like. I guess if you want to seize the day, see something else. 3.8/10, really bad, D+, far below average, etc.