Well, that was a surprise. In a move that will likely be remembered as one of the most tone-deaf decisions of the year, the Toronto International Film Festival decided to premiere Zack Snyder’s latest film, The Last Photograph, with barely any notice. Because what’s a film festival without a little last-minute Zack Snyder, right?
The movie, which has been billed as Snyder’s first-ever independent feature, stars Stuart Martin, Fra Free, and Costanza Andrade, and follows an ex-DEA agent seeking revenge in a South American jungle. Sounds like a real thrill-ride. And by “thrill-ride,” I mean a potentially dull, brutal, flavorless trainwreck, according to some of the critics who have seen it. But hey, who needs a cohesive plot when you have Zack Snyder’s signature ultraviolence, right?
The Critics’ Verdict
The reviews are in, and they’re not pretty. Chase Hutchinson from The Wrap called it “Zack Snyder’s agonizing, ugly slog” and his “worst film yet.” Vikram Murthi from Indiewire said it was “a superficial departure for the director that mines a familiar, shallow thematic pool about the psychological burden of witnessing and perpetuating brutality.” And Michael Rechtshaffen from The Hollywood Reporter claimed it was “overstuffed with pretentious symbolism and flatly delivered, vapid dialogue that constantly overstates the obvious.” But hey, at least Damon Wise from Deadline thought it was a nice try, saying it was “good to see Snyder trying something so far out of his wheelhouse.” That’s what I call a glowing endorsement.
It’s worth noting that The Last Photograph has been a passion project for Snyder for years, with Christian Bale and Sean Penn once attached to star. But I guess that’s what happens when you let a director make a movie without any real studio oversight. You get a film that’s been likened to a “dull, brutal, flavorless trainwreck.” But hey, at least it’s not like Snyder’s trying to make a statement about the state of the world or anything. Nope, this is just a straight-up revenge flick. How refreshing.
The People’s Verdict
But don’t just take the critics’ word for it. The people have spoken, and they’re not exactly thrilled with The Last Photograph either. On Letterboxd, the film has a whopping 98 half-star ratings and 70 one-star ratings. One reviewer said, “By the end, I genuinely wanted this to be the last film I ever have to see from him.” Ouch. I guess that’s what happens when you try to make a “serious” film without actually putting in the effort to make it good. But hey, who needs effort when you have Zack Snyder’s name attached to it, right?
It’s unclear when the rest of the world will get to see The Last Photograph, as it doesn’t have an official release date yet. But I’m sure it’ll be a real treat when it finally comes out. I mean, who doesn’t love a good ultraviolent slog every now and then? And hey, maybe it’ll even start a new trend in Hollywood. Maybe we’ll see a whole new wave of “serious” films that are just excuses for directors to indulge in their darkest fantasies. Because that’s exactly what we need more of in this world.
As I sit here, writing about the latest misfire from a director who was once considered a visionary, I’m reminded of the wise words of a certain Hollywood executive: “Can this become a trilogy?” Yep, that’s the kind of thinking that’s going to save this industry. Not. But hey, at least we’ll always have the memories of a time when movies were actually good. Now, if you’ll excuse me, I have to go write about the latest unnecessary sequel to a franchise that should have been left to die. Joy.
Finn McFrame, celebrated satirical mastermind and self-proclaimed “Emperor of Irony,” started his illustrious career as a cinematographer, where his expertise in capturing every single frame of a squirrel stealing a baguette earned him accolades at obscure film festivals.
Born in the glamorous town of Boring, Oregon, Finn grew up with dreams of being a Hollywood director until he realized that satire, not cinema, was his true calling—or at least the one that let him sleep until noon.
Finn McFrame: changing the world, one satirical lens flare at a time.
