In “The Last Stand,” director Kim Jee-woon delivers a spirited, old-school action film that marks Arnold Schwarzenegger’s return to a leading role after a decade-long hiatus in politics. While the film may not break new ground in the genre, it offers precisely what fans have been missing: Schwarzenegger doing what he does best—delivering one-liners, wielding improbable weapons, and standing tall against overwhelming odds.
Back in the Saddle
The premise is straightforward but effective: Schwarzenegger plays Ray Owens, a former LAPD narcotics officer who has retreated to the quiet life as sheriff of the sleepy border town of Sommerton Junction, Arizona. When notorious drug kingpin Gabriel Cortez (Eduardo Noriega) escapes from FBI custody in a modified Corvette ZR1 capable of reaching 200 mph, he heads straight for the Mexican border—with Sommerton as the only thing standing in his way. As Agent John Bannister (Forest Whitaker) scrambles to intercept Cortez, Ray and his makeshift team of deputies prepare for a violent confrontation.
The Last Stand will be Arnold Schwarzenegger‘s first leading role since Terminator 3: Rise of the Machines in 2003.
Old-School Charm in a Modern Package
What sets “The Last Stand” apart is its conscious rejection of the frenetic editing and shaky-cam techniques that plague many contemporary action films. Kim Jee-woon, making his English-language debut after acclaimed Korean films like “I Saw the Devil” and “The Good, the Bad, the Weird,” brings a refreshing clarity to the action sequences. The shootouts are staged with precision, allowing viewers to appreciate the geography and choreography of each encounter.
The film builds deliberately toward its climactic showdown, taking time to establish the town and its quirky residents. Luis Guzmán provides comic relief as the reluctant deputy Mike Figuerola, while Johnny Knoxville hams it up as Lewis Dinkum, a local eccentric with an arsenal of illegal weapons. These supporting characters could have been one-dimensional, but the script gives them just enough personality to make them compelling companions for Ray’s last stand.
Schwarzenegger: Older but Unbowed
At the center of it all is Schwarzenegger, who brings a weathered gravitas to Ray Owens. Now in his mid-60s during filming, he moves more deliberately than in his “Terminator” heyday, but the film smartly incorporates his age into the character. Ray is experienced, world-weary, and under no illusions about his capabilities. When he declares, “I’ve seen enough blood and death. I know what’s coming,” we believe him.
The action choreography accommodates Schwarzenegger’s limitations while still delivering satisfying moments of physical prowess. One particularly memorable hand-to-hand combat sequence in a diner showcases Ray’s tactical thinking as much as his brute strength. When he utters the inevitable “I’m old, not obsolete” variation (predating his similar line in “Terminator Genisys”), it feels earned rather than desperate.
Villains and Car Chases
Eduardo Noriega makes for a serviceable villain, though Cortez lacks the memorable qualities of Schwarzenegger’s best adversaries. More impressive is Peter Stormare as Cortez’s mercenary henchman Burrell, who brings a menacing presence to the proceedings with his dead-eyed stare and efficient brutality.
The film’s car sequences deserve special mention. The Corvette ZR1 becomes almost a character in itself, with cinematographer Ji-yong Kim capturing its speed and power in exhilarating chase scenes. A cornfield pursuit stands out as particularly innovative, with stalks parting like waves before the speeding vehicles.
Cultural Subtext
Beneath its straightforward action exterior, “The Last Stand” makes some interesting observations about American identity. The sheriff protecting a border town from foreign invaders could have veered into jingoistic territory, but the film is more nuanced than that. Ray himself is an immigrant (as signaled by Schwarzenegger’s unmistakable accent), defending American values while acknowledging the nation’s complexity. The town’s residents, a diverse group who come together to protect their community, represent an idealized vision of American unity.
Shortcomings
Not everything works perfectly. Some of the humor falls flat, particularly in scenes involving the town’s bumbling deputies. Forest Whitaker, a talented actor, is largely wasted in a role that requires him to stare at screens and bark orders. And while the deliberate pacing mostly works in the film’s favor, some viewers might find the middle section sluggish.
The violence, while not excessive by genre standards, is surprisingly graphic at times. Kim Jee-woon brings some of his Korean thriller sensibilities to certain kills, which might be jarring for viewers expecting a PG-13 action romp (the film is rated R).
Conclusion
“The Last Stand” is a throwback in the best possible way. It reminds us why Schwarzenegger became a star in the first place: his undeniable charisma, physical presence, and ability to deliver absurd dialogue with conviction. The film knows exactly what it is and makes no apologies for it.
In an era of franchise installments and cinematic universes, there’s something refreshing about a self-contained action film that sets up its stakes, delivers on its promises, and rolls credits. “The Last Stand” may not rank among Schwarzenegger’s all-time classics like “Terminator 2” or “True Lies,” but it provides ample evidence that even in his 60s, he remained a compelling action hero.
For fans of traditional action cinema and Schwarzenegger enthusiasts in particular, “The Last Stand” stands tall as a worthy addition to the genre—a last hurrah that proves the old guard still has some fight left.
