Does anyone watch last call

Add image. Top cast Edit. Jeremy Piven Mick as Mick. Taryn Manning Ali as Ali. Zach McGowan Dougal as Dougal. Jack McGee Laurence as Laurence. Bruce Dern Coach as Coach. Jamie Kennedy Whitey as Whitey. Cathy Moriarty Mrs. C as Mrs. Cheri Oteri Dr. Baba Brown as Dr. Baba Brown. Jason James Richter Saville as Saville. Garry Pastore Delvecchio as Delvecchio. Chris Kerson Paddy as Paddy. Peter Patrikios Digits as Digits. Betsy Beutler Carla as Carla. Carrie Kim Luna as Luna.

Joseph R. Gannascoli Charlie as Charlie as Joe Gannascoli. Leticia Castillo Melanie as Melanie. Paolo Pilladi. Greg Lingo based on a story by screenplay by Michael Baughan based on a story by Billy Reilly based on a story by. More like this. Watch options. Play trailer Director Gavin Michael Booth. Gavin Michael Booth Daved Wilkins. Top credits Director Gavin Michael Booth.

See more at IMDbPro. Trailer Last Call. Photos Top cast Edit. Daved Wilkins Scott as Scott. Sarah Booth Beth as Beth. Matt Maenpaa Jessie as Jessie. Gavin Michael Booth. More like this. Watch options. Storyline Edit. Add content advisory.

Did you know Edit. Trivia Adrian Ellis' score was recorded live to picture in a similar real-time fashion to how the film was created.

User reviews 20 Review. Top review. See this film. This film was absolutely remarkable. It is incredibly emotional, tense, as well as artistic. The one-shot take was not used as a gimmick like I feared it would going into the film but, enhanced the viewing experience.

The split screen composition of the film was a bit unique in the beginning of the film, just because we've never really seen that before but it made absolute sense. Gavin Michael Booth created an extraordinary short, but I don't review short films. I review features.

So, I am going to treat this review and film as if it were a feature film. With that being said, let's start with the very beginning - the screenplay. Gavin Michael Booth and Daved Wilkins also the co-star of the film did a really good job writing this story - a story that needed to be told. Each piece of dialogue, even from the very beginning of the film, serves a purpose and is brought back by the end of this extremely realistic narrative.

At times the dialogue can come off as a tad expositional and on-the-nose, but those moments don't come close to the number of times I said to myself, "That's a great line. A way that makes you question how they were in fact able to do so. At a certain point in the film, all that we've seen story-wise begins to click together.

We begin to predict what will happen next, but at that point Booth and Wilkins' writings are two steps ahead of us.

With the subject matter this film was focused on, it is easy to become predictable. And this wasn't predictable. From the beginning of the film, we can't even imagine how these characters are going to cross paths - rather cross telephone lines. It's really good. Have you ever met an alcoholic before? This device would work beautifully onstage. On film it looks phony and presentational. Thomas didn't speak so much as he sang; he didn't articulate so much as he rode the waves of sound he produced.

Ifans captures Thomas' thrumming recitative style, which was more about creating a mood than conveying meaning. Bernstein's repeat shots of college girls staring up at Ifans, agog, rapt, are eloquent. This is more like the spoken-word poetry jams of later decades, the coffee-house folk-music culture of the s.

No wonder college kids were caught up in Thomas' magic. It has always struck me as interesting that Thomas' most famous poem, "Do not go gentle into that good night" was a villanelle, one of the most rigorous rules-based forms in existence.

When Thomas wanted to, he could submit to the rules, and he did it brilliantly! Too late in the game, the film suddenly gets fascinating, albeit in an esoteric way, as Carlos the bartender moves from out behind the bar and takes over the narrative.

Carlos reveals hidden depths, first in a spontaneous tango with the disillusioned Penny, and then in a brutal monologue where he cuts Thomas down to size. All along, Carlos has pretended to not be familiar with Thomas' work.

Now it is clear Carlos knows it very well and finds it extremely wanting. He says, echoing many of Thomas' critics, that Thomas "mistakes sound for substance. Not Auden. Not Yeats. Is Carlos real? Or is he Thomas' worst fears made manifest?

In his essay "Dylan the Durable," Seamus Heaney wrote of "Do not go gentle into that good night," "This is a son comforting a father; yet it is also, conceivably, the child poet in Thomas himself comforting the old ham he had become; the neophyte in him addressing the legend; the green fuse addressing the burnt-out case.

This is an intriguing thing to consider when you read the poem, and it's something Ifans appears to understand intimately in his performance: The emptiness behind all those words, those freaky words that came so easily to him, that added up to so little. If you find Thomas fascinating, as I do, then there's a lot here to chew on.

But "Last Call" is a pretty grim watch. Not "gorgeously grim. Read her answers to our Movie Love Questionnaire here.