
PG-13
Cast: John Brumpton, Mick Coulthard, Rachel Francis, Anita Hegh, Adam Morgan,
Director: ,
Genre: Drama,
Thematically recalling Clint Eastwood's 1993 saga A Perfect World, this drama from Australia hones in on a troubled adult man and a young boy fleeing from the law. The pair in this case, however, are a father and son. Kev (Hugo Weaving) and his ten-year-old boy Chook) journey deep into the recesses of the Australian outback, first abandoning their car, then riding by bus, and finally, hitchhiking across the wastelands. Their past is a deeply dysfunctional one, marred by ex-convict Kev's periodic absences from home while serving time, and Chook's only fleetingly successful attempts to understand his conflicted dad. The relationship comes to a head, however, when Kev visits a pub and hears about the murder of a close friend, Max (John Brumpton) . When Kev informs Chook of Max's death, Chook explodes with anger against his dad, forcing father and son into a series of life-changing confrontations. ~ Nathan Southern, Rovi
The title more or less gives away the film's design, but the predestined journey is taut and tragic nevertheless.
Both Weaving and the movie itself do manage to show that this violent, hopelessly damaged man yearns to be a father, but will never know how.
Mr. Ivin doesn't have a strong narrative line to play with or become distracted by, but he takes off on some lovely detours, whether he's narrowing in on Chook or going wide to take in the world that waits beyond.
Weaving, best known for The Matrix and the Lord of the Rings trilogies, brings subtlety and poignance to the hoodlum's mercurial character.
Ivin's film, based on a novel, becomes too melodramatic and bleakly obvious. Weaving, though, as always, is never less than magnetic.
Ivin conveys both facts and emotions with efficient brushstrokes (a spied glance, an offhand comment) that are matched by an understated, evocative lyricism.
As Kev, the veteran actor Weaving gives the performance of lifetime.
The Australian outback, the setting for most of Last Ride, an extraordinary film for which the locale is a quiet, almost secret catalyst.