The best thrillers don’t need much to deliver an effective blow. Some might utilize a single cast member, others a small group. Some may restrict the setting, while others might move around a bit. “Last Straw” fits into the overall genre nicely by blending the best elements of all, with a minuscule cast and minimal location changes, all tied together by a simple story with enough power and sudden right turns to keep things interesting. It may not succeed in redefining the game, but it’s hard to doubt this was ever the plan.
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Taking a page from the premise of “The Strangers” and with a setup that could draw comparisons to a junior varsity “Falling Down, “ “Last Straw” makes the most of a small town setting, though even the whereabouts could be considered unnecessary as the film finds itself primarily set in and around a sleepy diner seemingly transported from decades prior. It’s a mishmash of nostalgia, from the counter lifted out of any George Webb to the rotary phone and even a CD jukebox at the disposal of its small staff, which includes waiter Bobby (Joji Otani-Hansen), custodian Petey (Christopher M. Lopes) and Jake (Taylor Kowalski) behind the grill. It’s here that we meet Nancy (Jessica Belkin), a year removed from the halcyon days of high school and, as seen in the opening moments, has recently learned she’s pregnant with fellow employee Bobby, presumably the father. As her shift begins one overcast day, and with her emotions on edge, the next few hours bring amongst the general angst of dealing with customers, her boss/father Edward (Jeremy Sisto) or a group of local hoodlums tearing through the parking lot on a ramshackle set of mopeds, with Nancy’s threats to get the police involved only serving to get them to leave barely, not before making themselves at home at a diner booth and now sporting low-priced Halloween masks ostensibly just for fun. Though she succeeds in driving them out, a heated argument during a staff meeting minutes later results in Jake’s termination by Nancy, the acting manager, but this is undoubtedly the least of her worries, as nightfall sees that same gang of moped-driving thugs return, now terrorizing the restaurant where Nancy’s working solo. Once they make their way inside, things start to look predictable, that is, until they don’t.
Without giving too much away, the atmosphere that encompasses “Last Straw” feels both appropriately low-budget while as far removed from the tone of a student film; this, happily, speaks volumes of director Alan Scott Neal in his debut at the helm, a position he holds with the touch of someone who’s been around the block a time or two before but with a focus dedicated to keeping the pace surging forward, the transitions from scene to scene tight and the vibe both intense and even somewhat eerie throughout. Though the cast finds themselves working against the dialogue occasionally, everyone gives 100%, with Belkin and Kowalski at the front of the pack. Belkin’s Nancy manages to shift quickly and flawlessly from near-boredom at the mere thought of working until close to frustrated near-rage, all the way to panic and all as if it’s Belkin herself experiencing this slew of emotions. It’s the mark of a dedicated actor; Kowalski, meanwhile, delivers just as well, with his drug-fueled chef Jake making dramatic shifts that need to be seen to be believed. It’s not pretty, but in the world of “Last Straw, “ it works.
Yes, the mood turns violent, another swing that renders every vicious scene borderline shocking without an overuse of gore or gratuity. Luckily, even these savagely dark moments get a boost from the incredible score courtesy of Alan Palomo (of the electronic band Neon Indian), whose synth-wave soundtrack recalls “Turbo Kid” or “Drive” in the best way possible. It’s impossible to accurately place the year in which “Last Straw” occurs, and the music throughout doesn’t help; this, by the way, is a good thing. Though the ending might leave the audience on a dour note, it’s still not without a glimmer of hope.
Ultimately, “Last Straw” is far from the sort of movie that everyone will want to revisit more than once, nor throw on as a means to unwind. It does, however, put the talent on both sides of the camera on full display, teeing up all for the undeniable potential for future success. In this way, there’s much to appreciate; it’s the sort of movie you’re glad to finish, but enjoy the journey to the end. [B]
