The Last Son attempts to present itself as a Greek tragedy, incorporating elements like predetermined fates, forbidden relationships, and fratricide. The film’s structure mirrors this ambition, broken into sections akin to acts in a play, accompanied by narration instead of a traditional chorus. While the writers, Greg Johnson and Tim Sutton, seem familiar with the terminology, they haven't grasped the underlying spirit. What’s missing from all these borrowed tragic conventions is any genuine emotional depth; without it, the other elements fall flat. The characters don’t connect with the audience because they remain distant figures rather than believable people. Heather Graham portrays a woman who embodies both kindness and foolishness, though this description applies to most of the cast. Thomas Jane plays a man raised among Native Americans, but his connection to either culture seems superficial. Machine Gun Kelly's performance feels like an MTV interpretation of Oedipus. And so it goes with everything else; every attempt at something meaningful misses its mark. It’s disappointing that cinematographer David Gallego and editor Kate Abernathy created a film that convincingly resembles a classic western, only to have their efforts undermined by a script that is affected and insincere. The visuals are striking, utilizing Montana's landscapes effectively, and one scene in particular—a man’s final breath visibly clouding in the cold—is quite memorable, possibly alluding to a similar moment from *Chimes at Midnight*.

Source on TMDB