The Last Outlaw is a revenge themed western written by Eric Red, and if you’re at all familiar with his other works (he also penned The Hitcher and Near Dark), you’ll have some idea of how bloody and intense it is. It’s a smile story populated by hard bitten, gruff sons of bitches, and the violence comes fast and hard from all directions as soon as a few backs are stabbed, and several ravenous tempers ignited. Often in westerns the violence is clipped and minimal, the damage which a six gun does to flesh oddly shirked in favour of theatricality. This one has no use for that, and messily displays exactly what such a weapon does to people, repeatedly and with no discretion. It’s rough, gritty, Walter Hill style stuff, with not a trace of levity, smash or buckle, and every character kicking up dirt and anger the whole time. The film opens with a daring bank robbery, executed by former civil war Colonel Graff (Mickey Rourke), and his brutal gang. Their victory turns sour when mutiny looms among them in the form of Graff’s second in command, Eustos (Dermot Mulroney). He can’t abide by Graff’s sadistic methods, and bitterly betrays him. The rest is a bullet ridden cat and mouse game in the dusty deserts and shanty towns of the southwest, as the bodies pile up and the blood spatters in the dirt time and time again. Rourke is an implosive, grade A dickhead as Graff, a man less concerned with the fruits of his labor and more driven by the desire to exact violent retribution. One wonders if that’s what he’s in the game for anyway, to bide his time until something goes amiss, and the revel in the carnage. The supporting cast is just epic, with work from Steve Buscemi, Ted Levine, Paul Ben Victor, Richard Fancy, John C. McGinley and Keith David. It’s essentially one big stylish bloodbath, a pulpy ride through the gutter of arrogant machismo. Terrific fun, if that’s your thing.
We’re back with our second volume with cinematographer Ken Kelsch. This time we speak with him about more of his work with Abel Ferrara including WELCOME TO NEW YORK, THE ADDICTION and retouch on BAD LIEUTENANT. We also speak with Ken about working with Eric Red on 100 FEET, his work with Stanley Tucci on BIG NIGHT and THE IMPOSTERS, and Sherry Hormann’s DESERT FLOWER. Hope you guys have as much fun listening to this as we did recording this with Ken!
Podcasting Them Softly is proud to present a chat with cinematic horror/thriller icon Eric Red, as he chats about his eclectic career, his future projects, and his love for movies in general! Eric is famous for having written THE HITCHER, NEAR DARK, and BLUE STEEL, as well as writing and directing the incredible action thriller COHEN & TATE, BODY PARTS and BAD MOON. His most recent effort was the psychological horror thriller 100 FEET which features a gripping lead performance from Famke Janssen. Eric also writes novels, and his latest, WHITE KNUCKLE, is now available on Amazon. We hope you enjoy it as much as we did!