More in-depth film festival coverage than any other website!
Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 

Overall Rating

Awesome: 0%
Worth A Look: 0%
Pretty Bad46.15%
Total Crap: 7.69%

2 reviews, 1 rating

Latest Reviews

Dealer/Healer by Jay Seaver

City Without Baseball by Jay Seaver

Invisible Man, The (2020) by Rob Gonsalves

Hunt, The (2020) by Rob Gonsalves

Da 5 Bloods by Rob Gonsalves

Hamilton by Peter Sobczynski

Outpost, The by Peter Sobczynski

Audition, The by Jay Seaver

Sometimes Always Never by Jay Seaver

My Spy by Peter Sobczynski

subscribe to this feed

Last Station, The
[] Buy posters from this movie
by brianorndorf

"Daddy's dyin'...who's got the will?"
2 stars

If there’s anything tremendously positive to write about “The Last Station,” it would be how the picture casts an interesting light on celebrated author Leo Tolstoy and the wrath of his final years, in which he morphed into a deity to some of his more ardent Russian followers. It’s a convincing portrait of intelligence assuming a greater purpose, though it’s trapped in an uneven feature film that starts with a bang and ends with whimper. “The Last Station” deserves accolades for its unusual subject matter, but consistency is a problem for director Michael Hoffman, who’s trying to balance a year in the life of a literary legend, but only encourages indifference.

Facing ill health and a growing legion of devout “Tolstoyans,” Leo Tolstoy (Christopher Plummer) has retired to his country estate, facing a hailstorm of controversy. Tolstoy’s right-hand man Vladimir Chertkov (Paul Giamatti) is after the author’s copyrights for such classics as “Anna Karenina” and “War and Peace,” looking to exercise the power of the movement by releasing the works into the public domain. Against this act is Tolstoy’s wife Sofya (Helen Mirren), a woman keenly aware that Chertkov’s plans are not necessarily philanthropic. Thrown into the mix is Valentin Bulgakov (James McAvoy), an earnest Tolstoy admirer who’s caught between Chertkov’s orders to spy and Sofya’s helplessness, while finding his virginity blues cured by a comely Tolstoyan who’s lost the faith (Kerry Condon).

I must admit, I was completely thrown by “The Last Station” during the opening five minutes of the picture. In a curious move, Hoffman has instructed his cast to speak in their natural accents (or at least a respectable theatrical approximation), which makes this Russian tragedy a bewildering sit for at least a good handful of scenes. Once the diverse tongues have settled, Hoffman’s script (based on the Jay Parini novel) kicks in, conveying the sizable jolt of a turbulent life lived in the wake of Tolstoy’s colossal fame, cultivated not only through his distinguished writing, but through his crack philosophical mind as well, welcoming a nation of true believers into his sect.

The early happenings of “Last Station” revel in the excitement of Tolstoy’s presence, as seen through the eyes of Valentin, a green student of the master who’s ordered to snoop, but finds himself caught up in the vicious verbal battles waged between Chertkov’s agenda and Sofya’s incredulity. He’s a young man with an awful tell (he sneezes when nervous), but Valentin is our guide into Tolstoy’s compound, soon making his way to the man himself. The film’s first half is set aside to observe Valentin on his path to liberation, achieved through the fumes of Tolstoy’s magnetism and also his sexual maturation, helped along by a woman who challenges his single-minded devotion. Hoffman keeps this section of the film lively with brisk editing and buoyant staging, sustaining an unexpected British pucker to what should be the frost of Russian conflict.

In the second half, matters turn grave for the Tolstoy family and for Valentin, as his eyes are opened to the true hand of power in the Tolstoyan army. For reasons both known and frustratingly unknown, Hoffman loses control of his picture on the back nine, allowing the drama to become intolerably hysterical, the acting to reach the rafters (Mirren’s performance appears to be sponsored by Red Bull and cocaine), and the vivacious energy to dissipate as the horizon darkens for Tolstoy, while Sofya’s desperation explodes into teary spasms. There’s a thematic purpose to the despair that eventually swallows the film, but Hoffman mismanages the pure energy, removing any desire to learn what happens to these characters by dragging events out to a point of collapse. Tolstoy’s inevitable demise is greeted more as sweet release from Hoffman’s directorial death grip than a tender finality to a most troubled man.

link directly to this review at
originally posted: 01/23/10 01:00:40
[printer] printer-friendly format  
OFFICIAL SELECTION: 2009 Starz Denver Film Festival For more in the 2009 Starz Denver Film Festival series, click here.

User Comments

2/20/16 Anne turned off the movie in an hour - tried so hard to find something to like in it... 1 stars
Note: Duplicate, 'planted,' or other obviously improper comments
will be deleted at our discretion. So don't bother posting 'em. Thanks!
Your Name:
Your Comments:
Your Location: (state/province/country)
Your Rating:

Discuss this movie in our forum

  04-Dec-2009 (R)
  DVD: 22-Jun-2010


  DVD: 22-Jun-2010

Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About Australia's Largest Movie Review Database.
Privacy Policy | HBS Inc. | |   

All data and site design copyright 1997-2017, HBS Entertainment, Inc.
Search for
reviews features movie title writer/director/cast