Stanley's last shift at his fast food job takes an unexpected turn when he befriends a young African-American work employee.... (Full plot summary below)
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Stanley's last shift at his fast food job takes an unexpected turn when he befriends a young African-American work employee.
Leave your thoughts about The Last Shift.
| The Globe and Mail (Toronto)Barry HertzAs much as Stanley wants to believe in binaries – good honest work versus cheating, respect versus irresponsibility – Cohn’s low-key narrative undercuts such disingenuous naivety. Combine that with Jenkins’s slow-burn performance, and you have a film that speaks to, rather than talks down to, its audience. |
| New York PostJohnny OleksinskiIt’s a low-key rest-stop story that appreciates life’s banalities and the struggles of ordinary people. |
| The PlaylistJessica KiangOne is caught between appreciating Jenkins’s soulful, empathetic performance, and just thinking “fuck that guy,” and wishing the unexpected swerve The Last Shift made was to turn to McGhie’s Jevon, to make Stan an incident in his life, rather than the other way around. |
| Austin ChronicleRichard WhittakerIt's another tour de force performance from Jenkins, in the same week as his headturning performance as the pater familias of a clan of grifters in "Kajillionaire." |
| IndieWireDavid EhrlichThe Last Shift is told with a light touch that allows the film to sneak up on you, and even its most painful moments are softened by heartrending solidarity. |
| The Hollywood ReporterDavid RooneyThis funny-sad chamber piece is underwhelming in cinematic terms, but its perceptive script and the incisively etched characterizations of a sterling ensemble make it warmly satisfying. |
| The Film StageDan MeccaThere’s a lot to admire here, even it all of it doesn’t work. |
| Original-CinThom ErnstJenkins’ performance is the reason to see The Last Shift. But, not even a stellar performance from Jenkins can rescue The Last Shift entirely from its underdeveloped premise and an earnest need to be appreciated. |
| The New York TimesGlenn KennySo far, so good, in the mismatched maybe-eventual-buddy-comedy department. But the movie, written and directed by Andrew Cohn, wants a deeper dimension, and in pursuing that, goes wrong. |
| Los Angeles TimesKevin CrustCohn, an Emmy-winning documentary filmmaker, likely was aiming for subtlety, but these are not subtle times. Trying to get a spark from a damp match is a lot harder than holding a flame to dry kindling. |
