In 1994, The Shawshank Redemption set the standard by which every other movie set in a prison is, and should be measured against.  Now I do not expect any movie to come near the quality and mastery of that film, but it is hard not to recognize when a film is inspired from another source.  I will have to say though, that if you’re going to copy, at least copy from the best and that is what The Last Castle does.  It is a typical prison movie, that doesn’t do anything spectacular nor anything wrong.  It follows in the steps of its predecessors, sometimes paying homage, other times breaking new ground.  Of course, if you look hard enough, you can find holes in consistency, plot and characterizations, but what separates Last Castle is the passion and national fervor that it may instill, and the strong performances that can overcome any flaws and leave a sense of passion, spirit and the ability to overcome under any circumstances.

General Eugene Irwin has been sent to a military prison known as The Castle.  He is sent there for disobeying a direct order from the president, and is therefore a military criminal in the eyes of the law.  But he is no ordinary soldier.  He is a well decorated veteran who “should have a base named after him” as the leader of the prison Col Winter points out upon hearing that Gen. Irwin is coming to his prison.  But Winter’s mood changes based mostly upon a comment made by Redford during their initial meeting, and then the reaction of the inmates to the general and vice versa.  What follows is a fairly by the book, yet compelling power struggle between two men impassioned by similar inspirations, but who deliver upon them in different ways.  Winter is very obviously envious of Irwin’s successes, and subsequent quiet egotism about his accomplishments.  Director Rod Lurie, who turned the political thriller The Contender into an intense compelling ride, does the same here.  He creates a mental and physical chess game by combining tense dialogue with an understated competition which then concurrently implodes, then explodes.  Just as in The Contender,  Lurie has created yet another compelling character study and power struggle, with the military mindset, instead of politics being the target this time.  Sure, there are plot holes if you look hard and close enough, such as the presence of Penn, as Irwin’s daughter, who is brought on, touches on what could be yet another potential storyline, but is then completely forgotten about.  This is one of a few little things that may nag at the nitpicking viewer after the movie is over, but it shouldn’t deter anyone from enjoying this experience. This is a movie where you just sit back and get behind the characters and story, and admire the performances and the way it makes you feel afterwards.  In my eyes, movies are not only a reflection and commentary on our culture, but also an escape from reality and its madness, created to generate an emotion.  The Last Castle does this, despite its mistakes, and that is what I admire, and why I recommend it.

Lurie has a great ability, similar to Scorsese and other great directors, of harnessing and utilizing great talent, while also bringing out the best in those who may have potential and never showed it before.  As Irwin, Redford is near perfection as the quietly confident leader.  He consistently shows a calm intensity, even if simmering to the point of eruption on the inside.  His show downs with Gandolfini are like two gunfighters at the acting corral.  As the simmering villain,  Gandolfini’s Winter who leads through intimidation out of spite and envy when provoked by Redfords presence, shows another facet of his ever growing repertoire. He matches Redford’s quiet intensity and exerts an air of intimidation with just a look, or a sarcastic smirking comment.  Inside, you know every vein is seething in rage, but it all filters out only in looks and occasional words.  Just as in The Mexican, the film is worth seeing just for him.  As far as supporting roles, this was the first major role for Ruffalo following his well-deserved critical acclaim for You Can Count on me.  In this role, he is good, but not really given that much of a challenge with he material or role, he showed in You Can Count on me that he can handle a multifaceted character and bits of that potential shine through, but the fact is his character was underwritten, but maybe so that he wouldn’t steal the limelight from the true focuses.  Also noteworthy is Clifton Collins, who was outshined in Tigerland by Colin Farrell, and here, holds his own with the big boys, as the stuttering Iglesias, obviously in awe, but truly passionate and emotional about his beliefs and feelings.  Lurie has indeed got the best of a large cast, from big roles to small.

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