Last days of American crime
Director – Olivier Megaton
Distribution – Edgar Ramirez, Michael Pitt, Anna Brewster, Charlto Copley
The Netflix newspaper The last days of American crime pass their excellent grounds faster than you could say your name. The film takes place in the near future, when America becomes a fascist police state, a week before the new law prohibits citizens from engaging in any form of criminal activity.
The government is preparing to introduce a radio signal that can essentially block the brains of criminals if they want to break the law. In this dark future, it will never be possible to define exactly what a crime is. For example, can a Netflix frame suddenly get the green light for a film like this?
Watch the trailer The Last Days of American Crime.
The imminent activation of this signal plunges the nation into a spiral of anarchy. The opening scenes show shops being robbed, robberies at gunpoint and other disturbances in the background. Consider it a cleaning, but extended to a week. Think of it as a minority report if it wasn’t for Steven Spielberg, but for the man who made two movies.
Faced with the possibility of living in the bosom of government, the Americans are trying to fight Canada’s relative anarchy. At one point in the film, a newsreader tells the story of a film star whose personal plan for Canada is to be filmed from the air by police officers who are also equipped with a brain chip that makes them immune to the signal and thus free to do their job.
In the midst of all this, a professional criminal named Graham Brikke (Edgar Ramirez), who also wants to secede from the North, decides to commit the last major robbery in American history. So he worked with the descendants of a wealthy criminal family and his crazy girlfriend to solve the last case.
Michael Pitt as Kevin Cash in the final days of American crime.
Based on a comic book by Rick Remender and Greg Tokkini The Last Days of American Crime directed by Olivier Megaton, which you may have laughed about in the past. To revive the memory, it was he who decided that a simple scene in take 3 in which Liam Neeson jumps over the fence had to be approached with 15 shots. The seven-second series has reached iconic status on the internet and inevitably recurs in any discussion of the worst action film trends of the last decade.
And it is the same chaotic visual style that Megaton – by the way as a criminal with a pseudonym – is revising in the last days of American crime. To give you the right context, directors like Christopher Nolan and Quentin Tarantino often shoot with just one camera, taking perfect pictures and thinking carefully about the structure of the shots in their heads. I bet Megaton has a (reduced) monthly salary that he makes action movies with at least half a dozen cameras at the same time, hoping that he will just close the scene later on in the work. He never will.
For a film that claims to offer a fascinating critique of American immorality, rather than giving a picture of it, it seems to have been shot in the land of freedom and the home of the brave. Looks like the tax deduction was too tempting. Only one member of the central staff is the Joker Michael Pitt – American. The other supporting roles in the film were curiously cast with South African actors who could have been part of the fate when Megaton decided to film the film in that country.
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Even Ramirez, who won a Cesar prize ten years ago as the most promising actor, and Charlto Copley, who strangely enough disappears from the screen for the duration of a feature film, are in vain.
The final days of American crime, which lasted almost two and a half hours, are a painful ordeal – bloody, irreparably mean and ridiculous. The mistreatment of burning issues such as police brutality and authoritarianism is drowned in a deluge of unnecessary violence and the absolute lack of Megaton nuance. His story, it turns out, is as shameless and stupid as his name.
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