The Last Word
Shirley MacLaine and Amanda Seyfriend (Les Misérables) begin an unlikely friendship in this comedy drama from the director of Arlington Road.
"Harriet Lauler (MacLaine), a once successful businesswoman, has always been in tight control of every aspect of her life. As she reflects upon her accomplishments, she's suddenly inspired to engage a young local writer, Anne Sherman (Seyfried), to pen her life's story. When the initial result doesn’t meet Harriet's high expectations, she sets out to reshape the way she is remembered, with Anne dragged along as an unwilling accomplice. As the journey unfolds, the two women develop a unique bond which alters not only Harriet’s legacy, but also Anne's future." (Sundance Film Festival)
- Director:
- Mark Pellington ('Arlington Road', 'The Mothman Prophecies', 'Henry Poole is Here')
- Writer:
- Stuart Ross Fink
- Cast:
- Shirley MacLaineAmanda SeyfriedAnne HecheThomas SadoskiPhilip Baker HallAdina PorterSarah BakerTom Everett Scott
Reviews & comments
Variety
pressMacLaine has something that shines through and elevates a film like this one. The movie is prefab indie whimsy, but she gives it an afterglow.
Total Film
pressMuch mellowing and life-learning ensues in a plodding dramedy, though the glint in MacLaine's eyes makes it almost worth your while. Almost.
Time Out
pressYou won't believe a single minute of it, but you might, despite better judgement, find yourself caring by the end.
The New York Times
pressThere's some scathing satirical potential in this setup - the privileged white doyenne exploiting black poverty - but that would require backbone, edge and honesty, none of which this movie finally has.
NPR
pressSo empty and witless, dressing up a formulaic story with boatloads of unearned sentiment and embarrassing, one-note characters, that it seems destined to lie here as a bloated paperweight on MacLaine's own memory.
Los Angeles Times
pressIt's a role that allows MacLaine full range to be feisty, funny, blue (both kinds) and ruminative, but in a movie that ultimately fails her by refusing to be what MacLaine so often has been in her career: surprising.
Hollywood Reporter
pressCasting is everything in director Mark Pellington's latest, with MacLaine in blazingly fine form as she dignifies the movie's every pre-programmed emotional cue while blossoming from dragon lady into nurturing giver of life lessons.
Variety
pressMacLaine has something that shines through and elevates a film like this one. The movie is prefab indie whimsy, but she gives it an afterglow.
Total Film
pressMuch mellowing and life-learning ensues in a plodding dramedy, though the glint in MacLaine's eyes makes it almost worth your while. Almost.
Time Out
pressYou won't believe a single minute of it, but you might, despite better judgement, find yourself caring by the end.
The New York Times
pressThere's some scathing satirical potential in this setup - the privileged white doyenne exploiting black poverty - but that would require backbone, edge and honesty, none of which this movie finally has.
NPR
pressSo empty and witless, dressing up a formulaic story with boatloads of unearned sentiment and embarrassing, one-note characters, that it seems destined to lie here as a bloated paperweight on MacLaine's own memory.
Los Angeles Times
pressIt's a role that allows MacLaine full range to be feisty, funny, blue (both kinds) and ruminative, but in a movie that ultimately fails her by refusing to be what MacLaine so often has been in her career: surprising.
Hollywood Reporter
pressCasting is everything in director Mark Pellington's latest, with MacLaine in blazingly fine form as she dignifies the movie's every pre-programmed emotional cue while blossoming from dragon lady into nurturing giver of life lessons.
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