Matt Mulhern stars as an out of work sit-com actor visiting his empty childhood home on the Jersey shore while struggling to make sense of the loss of his father, his past, and, for one funny and heartbreaking week, himself.
Reece McHenry is a used-clothing store owner and Carol Fitzsimmons is a seamstress working in that store. The film follows the story of their relationships from 1960s till present time (as ... See full summary »
When a female assassin is sent to the US to kill the last living heir to the modern day Himalayan Kingdom, royal solider is also sent to protect her. When he is face to face with the ... See full summary »
Two master thieves go at odds with one another as one sets the other up for a crime. The first, a suave pro who does his job and then hides in his own privacy, listening to old jazz records... See full summary »
FBI director Jack Devine always sets up his brother Joe as undercover to trick mobsters. His latest cover is as movie producer Joe Diamond, to get Tommy Sanz for Teamster racketeering. His cover requires a script - the one movie theater manager Steven Schats and his brother Marshall 'Paris' wrote, supposedly a cancer biopic. So Steven is hired as director, his greatest dream, even if producing an Arizona desert drama on Rhode Island is far from ideal. When a former Oscar nominee volunteers to star, the cover gets out of hand till everyone believes in it, even the FBI brass- or not? Written by
This movie was based on the real life FBI sting operation in the 1980s to infiltrate the Boston mob teamsters. An FBI agent went undercover as a movie studio executive and contracted George Moffly, an aspiring filmmaker, to create it. Throughout the whole time George had no idea that he was making a fake movie. The sting only captured a few minor Mob members. The details of this unusual story can be found in a GQ article (March 2000). See more »
This movie is set in the mid-1980s. The Westin Hotel was built in 1994. The Providence Place Mall opened in 1999. Both are shown in the movie. See more »
Proof that a Seed of Truth is Stranger/Funnier than Fiction
THE LAST SHOT is best viewed with a bit of info to let the patient viewer understand what is coming. The opening titles are clever, dealing with movie paraphernalia that serve as matrices for the stars and production staff names and should give a sense of what is to come. But it isn't until the first 20 or so minutes into the film that the significance of the movie can be appreciated.
Based on an apparently true news article, THE LAST SHOT takes a pot shot at not only Hollywood, but also organized crime, production magnates, the FBI, and little people with big dreams lost in the elusive utopia of fame.The plot is well outlined on these pages. Suffice it to say that the FBI sends Joe Devine (Alec Baldwin) to Hollywood to pose as a producer to lure the underground crime lord Tommy Sanz (Tony Shalhoub) to surface and be caught. Devine needs a script as he discovers from the gross Fanny Nash (Joan Cusack at her hilarious best) and gradually encounters Steven Schats (Matthew Broderick) who with his pathetic brother Marshall Paris (Tim Blake Nelson) has written an unmarketable, non-salable script called 'Arizona'. Devine grabs on to the project, making Schats the director (his dream come true) and casts the film with has-been actress with box office draw Emily French (Toni Collette who looks terrific and adds yet another priceless cameo to her brilliant repertoire) and Valerie Weston (Calista Flockhart) who just happens to be Schats' squeeze.
The process of film-making and the infectious delirium of Hollywood affects everyone in this film - even the FBI and especially Devine who softens into a man who wants to provide the 'littleman' Schats with his dream. The humor is broad, WAY over the top, crude, and slapstick and in so many ways this movie mimics all of the intangible oddities that make Hollywood what it is. The performances by Baldwin, Broderick, Cusack, Flockhart - and, well, all of the inserted cameos - are excellent. Once you get the premise of this film it moves from being inane to being a really terrific parody with some sensitive metaphors. Grady Harp
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