The Last Shot is a comedy–and a funny one–but I’m not sure it qualifies as a story. It’s an idea for a movie–the FBI fakes producing a movie to catch mobsters, hiring Hollywood wannabes without telling them–but Nathanson’s execution of the idea is flawed. Alec Baldwin’s FBI agent is lying to would-be director Matthew Broderick for the entire movie and Nathanson expects the audience to think it’s funny. He mistreats his characters, not because they deserve it (though he does give Broderick an unimportant deception late in the film–Baldwin’s clear except the whole faking a movie production), but because he can move the story and get laughs out of it. The beginning, thanks to Baldwin’s excellent performance, suggests the film’s going to be a lot better than it turns out, but once Calista Flockhart shows up screaming obscenities (look everyone, Ally McBeal swearing), it’s pretty obvious Nathanson’s really cheap.
But it’s still a Hollywood comedy–that inane (but watchable) genre, which has produced maybe one good film in the last twenty years–and Nathanson is funny. He gets Joan Cusack to be funny, not hard, but she’s real funny. He’s got Robert Evans offering wacky cut-in commentary on the story. Every time Evans breaks in, it cuts a scene (Evans is wearing some great clothes, but I assume they’re just his) awkwardly and it becomes clear Nathanson doesn’t have any regard for his own movie either, at least not in terms of it being a worthwhile narrative. As a series of jokes and tricks, he seems to respect it.
Tony Shalhoub is also good, but lots of the supporting cast misfires. Tim Blake Nelson is never believable as Broderick’s brother and Buck Henry’s small part would have been much more interesting if someone besides Buck Henry had been playing it. Broderick’s no good, but the character’s supposed to be lame (see, he has friends who play the guitar and sing songs about him, we’re supposed to laugh at him… the only way Nathanson could have done anything halfway honest with this film was to give it a Beaver Trilogy viewer self-awareness moment, but those aren’t funny, so no way Nathanson’s doing it). Toni Collette’s funny here too, real good even, in terms of acting, even though her character’s moronic. I think it was when Collette showed up, I really started feeling bad for The Last Shot. The cast list sounds good, but watching it… it’s embarrassingly pointless.
Nathanson’s got some other funny things–except he can’t seem to keep it set in 1985, not when he drops Sundance references and the like–but he ends it on a sentimental tone and the movie certainly never earned it. The music by Rolfe Kent’s a constant annoyance and, otherwise, the film’s technically uninteresting. But Baldwin’s real good and it’s so funny at times, it’s practically acceptable. Though, given Nathanson’s history as a blockbuster ghostwriter, one might think he’d know it doesn’t make any sense to have Baldwin be movie crazy in the third act without establishing it in the first. Rifle on the wall and all.
Directed by Jeff Nathanson; screenplay by Nathanson, based on a magazine article by Steve Fishman; director of photography, John Lindley; edited by David Rosenbloom; music by Rolfe Kent; production designer, William Arnold; produced by Larry Brezner and David Hoberman; released by Touchstone Pictures.
Starring Alec Baldwin (Joe Devine), Matthew Broderick (Steven Schats), Toni Collette (Emily French), Tony Shalhoub (Tommy Sanz), Calista Flockhart (Valerie Weston), Tim Blake Nelson (Marshal Paris), Buck Henry (Lonnie Bosco) and Ray Liotta (Jack Devine).