The Last Porno Show

Chadwick carries the movie with authority and empathy and never condescends to these colorful characters that exist on the fringes of mainstream “respectable” society. It helps that Chadwick has the look of a relatable everyman, balding and soft. He has a vulnerability that works nicely within the story, evident in the douchebaggery of the first half and in the sentimentality of the second. 

Paputts’s direction is workmanlike, if not exemplary, pushing the story along with just enough style to keep the visuals interesting. The production design by Mong Tho Mach is high and professional while Alexis DeBad’s art direction maintains suitable grime to the milieu. The screenplay, however, is scattered and makes some flagrant narrative jumps (how does Julia know that Wayne is Al’s son the first time he knocks on her door?) that hurt the dramatic thrust of the story; it feels like entire establishing scenes might have been left on the cutting room floor. Additionally, select character transitions aren’t entirely convincing and appear contrived in order to move the story forward rather than occurring as an organic shift in the character. The movie would probably have benefitted from another round of polishing before being put to film.

“…carries the movie with authority and empathy and never condescends to these colorful characters…”

Ace supporting turns, particularly by Aldo, Victoria Dunsmore (as Ashley), and Mickey Skin (as Julia) cohere the narrative despite its structural setbacks. There is nice chemistry connecting the characters that go a long way into making the movie go down smoothly.

The Last Porno Show isn’t a movie to seek out. It’s not an exceptionally profound piece of storytelling, and, despite the setting, the combined elements are in the service of what is ultimately a sweet but slight story.  It’s what one might expect if Cinema Paradiso had a younger brother who went into porn.