The opening sequence to “THE LAST MINUTE” suggests something really terrific is about to come. Reminiscent, in its style, to the best work of Danny Boyle, one expects that something witty with a fair amount of soul searching is about to unfold. The main character, Billy Byrne, is speaking directly to the viewer, detailing in a systematic way, how limited the span of an average lifetime really is! This scene offers great writing, great acting, interesting editing, and a pleasing production design, including falling snow visible just outside the window of the cabin in which the scene takes place.
However, in a frenzied pace, the film takes a huge turn in both its style and overall theme. We’re suddenly cast into the busy, troubled world of press junkets surrounding the main character’s newest film(he’s a director), and are taken along for the bizarre ride into the perverse nightlife that the acquaintances around him seem to enjoy. All of it’s disturbing and unrelenting, and while it, at times, imitates a David Lynch film, it’s never as good.
The most disappointing about the film for this reviewer, was the high expectations originally derived from the trailer, as well as Norrington’s previous film, “ZIG ZAG”. He’s shown ability for real style as well as the ability to create characters with enough depth to rise above desperate surroundings. There’s little of the latter here, and the former doesn’t make a film complete!
LIONS GATE FILMS has presented the film with its proper 2.35:1 aspect ratio, and 16:9 enhancement. The colors are generally solid, although the image is a bit soft at times. Contrast is excellent, offering great detail in darker scenes. Fleshtones appear natural throughout.
LIONS GATE FILMS has presented a Dolby Digital 5.1 mix for this release. While a Dolby Stereo mix is also offered, there’s better separation and bass on the 5.1 mix. Surrounds kick in effectively at key moments throughout the film. Dialogue is always intelligible and free from distortion.
Some extras have been included for this release, including two commentary tracks, one with director Norrington, and the other with star Max Beesely. Neither is especially entertaining or enlightening about filmmaking. These are strictly for the rare “fan” of the film. Interviews and deleted scenes are offered, but they’re much harder to navigate than we’d expected, and not really worth the effort.