To Your Last Death

Miriam Deklab’s life is difficult enough. Her father is the premier arms dealer in the world, and she is running a failed nonprofit dedicated to peace. Her siblings are warped individuals lashing out at the world due to years of abuse by their father.  When the adult Deklab children are invited to meet with him, they weren’t expecting hugs and apologies. But they weren’t expecting a series of deathtraps either. Miriam is the only survivor of the brutal attack and is also the prime suspect in their deaths until a mysterious woman offers her the chance to do it all again and change the outcome. Miriam has two hours to survive her father’s death traps, save her siblings, and navigate the changing rules of her mysterious benefactor.

“Miriam has two hours to survive her father’s death traps, save her siblings, and navigate the changing rules of her mysterious benefactor.”

To Your Last Death is a wonderful mess of a film. Reminiscent of pulp horror or the Grand Guignol style of theater, it delivers on all its promises while avoiding becoming mindless gore porn. It’s a hyperviolent thrill ride that manages to titillate, entertain, and take the viewer to task for liking this kind of film.

It is not, however, without its problems. The first thing you’ll notice in To Your Last Death is the animation. It is a cheap computer-style reminiscent of Archer or Metalocolypse, but not as good. The actual artwork is very well done, but then a computer makes the mouth, arms, and legs move. The overall effect looks like cartoon marionettes.  The second problem is the narrator. It seems as though the part was created so they could hire William Shatner just to say he was in their film. But the narrator is given so little to do that he seems pointless. He drifts in and out of the story at seemingly random times and doesn’t add anything to the narrative.