The Last Picture Show is a recurring Battleship Pretension column that reviews and examines the last films of a given director, actor, cinematographer, etc. as a means of exploring their filmography as a whole.
When I began writing this column a few months ago, I was operating under an unspoken axiom that the films covered would complement the person’s overall legacy (granted, the second installment of this column was Wes Craven’s Scream 4, by no means a seminal masterpiece, but a film that certainly reaffirms Wes Craven’s earlier success). But in hindsight, that’s far too obtuse, giving the notion that a filmmaker is only as good as his or her most recent offering. For the sake of this column, I think it’s imperative to discuss how a cinematic legacy is affected (or not) by an outright awful adieu. Enter 2009’sYear One, an incoherent mess brimming with half-baked bits that are as distasteful as they are lame. It is also the final directorial effort of the late Harold Ramis.