Last Looks (2022)

Last Looks is the kind of breezy neo-noir that reminds you how much fun a murder mystery can be when it’s carried by personality, not just plot mechanics. Charlie Hunnam makes a terrific anchor as a weary ex-cop dragged back into Los Angeles, and the film lets the city glow with sleazy color, dry wit, and that late-night, wrong-turn energy where every conversation feels like a clue. Mel Gibson leans into a delightfully off-kilter comic groove, and the supporting cast keeps the case lively even when the story takes familiar genre turns. It is, fair warning, a talky, profanity-heavy R-rated caper more than a hard-edged action barrage—but if you want charm, atmosphere, and a smart, easygoing ride, this one goes down smooth.

Last Looks wants to be a scruffy, wisecracking neo-noir where a burned-out ex-cop gets dragged from self-imposed exile into Hollywood’s sleazier corners, and you can feel the film aiming for that pulpy, satirical kick. The problem is the mystery plays it safe while also piling on suspects and side threads until it starts to feel cluttered rather than cleverly twisty, and the pacing can sag when it should be tightening the screws. Charlie Hunnam is a solid anchor and Mel Gibson brings some unpredictable energy, but the tone never quite commits hard enough to either sharp satire or straight thriller to make the clichés feel refreshed. If you’re craving a clean, coherent whodunit or a genuinely biting Hollywood send-up, this may test your patience; if you’re fine with a shaggy, R-rated genre ride carried mostly by vibe and performances, it’s serviceable.