Synopsis:After a meteoric rise to radio super-stardom in the late 1940's, Hank Williams, who called himself Luke the Drifter, had made a train wreck of his life. At the end of 1952, Hank Williams gathered what was left of his physical strength to make things right and began the long road back. On his way to a couple of New Year's shows in West Virginia and Ohio, he hired a local kid who didn't even own a radio, much less know who this legend was, to drive him to the gigs from Montgomery, AL. Hank
Williams never got there. Inspired by the mysterious final days of Hank Williams' life, The Last Ride is the story of that final drive through the bleak Appalachian countryside of 1950's America. -- (C) Category One
Critic Reviews
Paul de Barros, Seattle Times
Alas, "The Last Ride" doesn't deliver much insight into Williams or the lifestyle that killed him.
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Mario Tarradell, Dallas Morning News
The Last Ride doesn't give us a complete picture of Hank Williams. But it does ably illustrate the final days of his life.
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Kerry Lengel, Arizona Republic
James does a fine job of portraying a naïve youth whose eyes slowly open to glimpse both the pleasures and the pain of living.
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Mark Olsen, Los Angeles Times
Dramatically thin, formally uninspired and thematically weak, "The Last Ride" really goes nowhere.
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Joe Leydon, Variety
Bearing all the hallmarks of a small-budget labor of love, The Last Ride is a leisurely paced but modestly engaging road trip that gets considerable mileage from the byplay between its two lead characters.
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Jeannette Catsoulis, New York Times
This one is for Hank Williams fanatics only, and Mr. Thomas puts a dark and subtle sheen on a disappointingly watery script.
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Andrew Lapin, NPR
The film can't really function as a proper meditation on its subject - because he's not really its subject.
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Elizabeth Weitzman, New York Daily News
Director Harry Thomason takes some unnecessary liberties in imagining Hank Williams' final days.
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Rex Reed, New York Observer
It's a fascinating film that I enjoyed thoroughly.
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Mark Holcomb, Village Voice
It portrays Williams in a generally sympathetic light without whitewashing his vice-loving, belligerent ways or mythologizing them in a bid for postmortem psychoanalysis.
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