User reviews

I have to admit going into this a little unprepared and not sure what to expect. I hadn't read any write ups and went in with very little knowledge of what the movie was about.

I nearly always like Shirley MacLaine movies, she rarely does a bad one and Amanda Seyfried usually does OK. This was no exception and Shirley MacLaine really shines in this one. The roles is not really new, we have seen her in this type of role before so it is one she is either picked for or picks for herself.

Amanda Seyfried does quite well, but the real performance to look out for is from AnnJewel Lee Dixon, she really does make for a fun movie and steals some of the scenes she is in from Shirley MacLaine.

Word of warning, if you don't like the use of foul language by young children you may not like this movie, be prepared for that.

Some would say this is a predictable movie, so be it, it probably is, but it is also very entertaining and worth the price of admission.

8/10 for me and I would see it again.

Actress Shirley MacLaine has had quite a career – and an interesting life. She was ahead of her time in being a very independent-minded career woman… and developed a reputation for being difficult to work with. She had a decades-long marriage which ended in divorce, but produced one child, a daughter. In her later years, she has remained active in trying to shape her legacy, which is clearly seen in her 2017 comedy-drama "The Last Word" (R, 1:48). Advertising executive Harriet Lauler has had quite a career – and an interesting life. She was ahead of her time in being a very independent-minded career woman… and developed a reputation for being difficult to work with. She had a decades-long marriage which ended in divorce, but produced one child, a daughter. In her later years, she has become active in trying to shape her legacy, which is what the 2017 comedy-drama "The Last Word" is all about. Now, art-imitating-life parallels aside, playing Harriet serves to remind us how busy MacLaine has remained, on screens big and small, even as her 70s drifted into her 80s – and what a singular talent she remains.

"Control is very important to Harriet," one character observes. That's an understatement – and an incomplete one too. Not only has Harriet Lauler (Shirley MacLaine) always exerted control over as many parts of her life as possible, she was always been very disagreeable as she did so. Years ago, she angrily quit the ad agency that she helped to found because she didn't like how one of her clients conducted a focus group. She once told her gynecologist(!), "When I want your opinion, I'll give it to you." Her parish priest even admits, "I hated her. So much." These days, Harriet's retired. She lives alone in her big house and exerts her brand of rude control by chastising her gardener for trimming her hedges from top to bottom, instead of from bottom to top, as she has instructed him, "many times" he admits with a sigh. Then, when she reads someone's obituary in her local newspaper, she finds something else to control.

Harriet visits the paper's offices and asks the editor, Ronald Odom (Tom Everett Scott), to introduce her to the obituary writer, Anne Sherman (Amanda Seyfried). Sitting behind Ronald's desk, Harriet gives Anne the assignment to write her obituary now, so she can be sure she'll be satisfied with what will be published about her in the newspaper after she is gone. Ronald tells Anne that Harriet had been a great friend to the paper when she did ads for Ronald's father and implies that she might remember the paper in her will. "Make her happy," is Ronald's simple instruction to Anne, who reluctantly gets to work. The problem is that there just isn't much to say about Harriet beyond her past career accomplishments – and Anne can't find a single person to say anything nice about her – even from the list of names that she received from Harriet herself. Naturally, Harriet is dissatisfied with Anne's first draft – and tells her so.

Harriet has read a number of obituaries and determined that there are four things that make a good obituary: a loving family, the respect of co-workers, touching the life of someone who needs a helping hand and… a wild card, something unique in the life of the deceased that provides the proverbial icing on the cake. Harriet knows that Anne won't write anything about Harriet that is not truthful, so she gets Anne to help her "shape a legacy". Without giving away how all of this shakes out, I'll just say that this journey puts Harriet and Anne in touch with Harriet's ex-husband (Phillip Baker Hall), Harriet's estranged daughter (Anne Heche), a former co-worker (Joel Murray), an at-risk youth (AnnJewel Lee Dixon) and a charming disc jockey (Thomas Sadoski). And as the two women work together on Harriet's unusual project, she does some unwelcome, but well-intentioned meddling in Anne's personal life as well.

"The Last Word" is a relatively original and very well-done genre film. Sure, it's formulaic, but movies use formulas for a reason. The real question is whether the film tells its story effectively and this one definitely does. The script from Stuart Ross Fink (writing his first feature) creates a fresh take on the trope of examining a life not-so-well-lived and gives us interesting characters. The excellent actors bring out the nuances in those characters and director Mark Pellington ("Arlington Road", "The Mothman Prophecies") gives the film a great balance of comedy, drama, life lessons and just plain fun. The film's ending may be predictable, but getting there is a very rewarding experience. Movie Fans (especially fans of Ms. MacLaine) will likely be thankful that, with other projects in the works, this film won't be the last word in Shirley MacLaine's stellar career. It also makes us look forward to much more to come from the talented Seyfried, the spunky newcomer Dixon and rookie writer Fink, with this impressive debut. This great mix of well-established talent with others just starting out makes for one enjoyable film. "A-"

This is a predictable movie - will not give anything away as you will see it for yourself. Shirley Maclaine is fun to watch and believable -she is a lady used to having her way and all of a sudden she is having questions about how she will be remembered. The main characters beside her, are the obit writer and the young person she is going to help and turn their life around. This is a film that is easy to watch, predictable and believable. Just not a great one but a good way to spend the afternoon.

Shirley MacLaine did a wonderful job. That is it. The movie in itself was predictable and they of course had to throw in a little kid that was quite annoying. But Shirley MacLaine was great!

This film tells the story of an elderly woman who is difficult and controlling. One day, she comes up with the idea of controlling what her obituary should look like. Therefore, she hires an obituary writer to work on the last words that would summarise her existence on Earth.

The first five minutes should have been a warning sign for me. There is little dialog, as the screen shows Shirley MacLaine's character, Harriet being grumpy by herself. Then, she is as difficult as can be, evoking no sympathy for her from me.

I can't quite bear her creating artificial relationships with Amanda Seyfried and the little girl either, as their bond with Harriet is contrived and unconvincing. Am I really to believe that you can chat up a little girl in the school yard, and subsequently take the girl on a one day trip without parental consent? The whole subplot of the little girl is seriously flawed.

The story is slow, and there is not enough content to fill the screen time. I felt seriously bored. I almost dosed off when Harriet does something similar on the sofa. Then something unbelievable happens. I cannot possibly imagine anyone does what Amanda Seyfried does in that situation. Her lack of action is entirely absurd and senseless.

Normally I like a brain off film with a predictable plot, but "The Last Word" manages to bore and irritate me.

The Last Word (2017): Dramas may not have strong content but it always triumphs with extraordinary performances and emotional scenes.But surprisingly The Last Word has good content and star-cast is very good.But at the end it just managed to get just an OK reaction from me.

Plot: Harriet (Shirley MacLaine) is a successful, retired businesswoman who wants to control everything around her until the bitter end. To make sure her life story is told her way, she pays off her local newspaper to have her obituary written in advance under her watchful eye. But Anne (Amanda Seyfried), the young journalist assigned to the task, refuses to follow the script and instead insists on finding out the true facts about Harriett's life, resulting in a life-altering friendship

My Review: Here's another one of those by-the-numbers heart-warmers whose every narrative move you can predict 10 minutes before it unfolds.So why does this story about an unlovable woman who wants to edit her own obituary still work like a charm?It stars Shirley MacLaine, who's gloriously grumpy – and appealing – as Harriet Lawlor, a former ad executive who has alienated everyone in her life, including her daughter. Even her priest can't stand her.

The idea of writing your own obituary when things aren't going well itself has scope of good comedy and drama.The Last Word has both the factors but only in limited quantity.The character seems to be in search of purpose much like the script itself. It's engaging enough to see through to the end, despite the material being so light it's a wonder it doesn't float away.

This entirely predictable film has became watchable mainly because of Shirley MacLaine who rocked with her stellar performance.There is an energy and commitment in her performance that gives the film a jolt of life.Seyfried, who can be a vivid actress, has been handed an underwritten part.

So,The Last Word may be highly predictable even with different concept,it worked because of Shirley's worthy performance.

My rating 6.5/10

Harriet Lauler (Shirley MacLaine) is an opinionated controlling rich old lady. She's retired after running an advertising company. Her family is estranged and nobody likes her. After OD'ing on her meds, she starts being concerned about her obituary. She hires newspaper obit writer Anne Sherman (Amanda Seyfried) to write one for her.

After talking to the at-risk girls, the story end point is more than obvious. There is also an obvious route for this movie. It's two great actresses on a road trip to self-discovery. Shirley MacLaine has made a career out of this character. This movie just needs some good writing. The writing is sometimes good standard stuff but sometimes gets clunky. The two leads usually are able to work out some good chemistry but some scene falls completely flat. For example, Anne is on a date when Harriet confronts her about her writing. It's an important moment but the date keep budding into it. He's a third wheel who keeps causing them to drive off course. Then there is the main third wheel, the little girl. She's the quintessential sassy black girl. She gets overshadowed despite the movie wanting her to be the breakout star. Harriet's reconnection with her daughter ends with a weird fake laugh. The audience is just like the other characters, looking at Harriet side-eyed. At the end of the day, I just want this to be better. The writing needs to be better.

Cleverly written, this little film is a gem and shows that a good movie doesn't have to be a big blockbuster. AnnJewel Lee Dixon is wonderful and her personality shines through every scene she is in. Shirley MacLaine, while getting older, shows she still has "it." While my wife cried at the end, I didn't think of it as a typical "chick flick."

I should honestly be impressed that The Last Word gets away with as much as it does. It starts as one of those stereotypical light-weight puff pieces. The kind that gears itself toward the fussy, all-knowing, film festival crowd, then hits them over the head with the same mindlessness they claim to avoid by not watching mainstream films. The irony of course is they're never made aware that they're watching strategically released pabulum because they're "too smart and refined" (and white) to subject themselves to the latest common blockbuster. The Last Word is basically the cinematic equivalent of "The Emperor's New Clothes," for old people.

The Last Word stars aged Hollywood icon Shirley MacLaine who basically takes the hindsight throne that was previously sat on by Meryl Streep in Ricki and the Flash (2015) and Al Pacino in Danny Collins (2015). She plays, of course a mortality aware loner who decides she wants to change her life with the help of a permanently brought-aback obituary writer (Seyfried) and later on, a sassy little black girl (Lee Dixon) whose tokenism would be offensive if it wasn't so carelessly stilted. Within the course of a month, Harriet Lalor (MacLaine) decides to reconstruct her legacy in the following order of importance: touch someone's life unexpectedly, find that certain something extra, be respected by her community and be beloved by friends and family.

What immediately elevates Last Word from other pedestrian feel-good movies like this, is the inclusion of Shirley MacLaine. With over fifty years of experience playing acid-dipped battle-axes, MacLaine easily transcends the film's paltry story and annoyingly analog aesthetics. She does so well playing the quintessential shrew that every other one-note character fades into the background like a white wall against a bright tapestry.

Of course, if sassy repartee alone was enough to elevate a bomb I'd be working for a publication by now. Literally everything else in this film suffers from clumsily sets up reveals and embarrassingly artificial sentiment. We see it all coming yet no effort is made to keep the script itself engaging or the least bit deserving of such an off-the-wall character. Why is Lalor hated by her family, why was she ejected by the advertising agency she started, why does literally everyone she meets want to kill her? The answers to all these questions will likely give OCD sufferers reason to get off their meds while giving babyboomers license to continue being s***ty people.

What saves The Last Word from ultimately being beyond redemption is the very clear inference that the movie is a fantasy. It's a very treacly fantasy and one that would needle audiences outside its demographic into a permanent eye-twitch. Yet for those who just can't fathom why young whippersnappers like me can't just point to a place on a map and go, The Last Word is just what the doctor ordered. Consider it the last movie you'll see before euthanasia.

This review of The Last Word is spoiler free

** (2/5)

AS WITH EVERY other film were an octogenarian is the lead, The Last Word opens with a set of photos and a kick-back retro song to show the life that they once had. Here the octogenarian is Hollywood legend Shirley MacLaine who at 83 years old has had one stunning career, from Billy Wilder's The Apartment to James L. Brooks' Tears of Endearment she's been in it all. And every time she's given stunning performances, she's no stranger to the spotlight. In her latest starrer The Last Word she plays Harriet Lauler, a retired businesswoman who likes to control everything and everyone, in turn leading her to be one of the most hated people.

We open with her alone in her lavish manor, she's sad, almost tear-filled and for a while the sympathetic feeling this leaves is effective. She decides that she wants her obituary written, she employs young journalist Anne (Seyfried) to write it for her. Who learns the truth about Harriet's life, asking people what she's like as a person, it's much the same answer; she's mean, controlling, angry and hated, thus ending the sympathy we feel for in the opening. Anne decides to tell Harriet the truth, and she makes an attempt to change her life.

MacLaine is the polishing appearance, giving an honest and brave performance she makes you feel for her, she's a loving grandmother type figure to her young high-spirited intern Brenda (Lee Dixon) and she's a good friend to Anne, as the lead it takes a while to warm up to her. By the time she warms up to her sympathetic measures – it goes away. To be fair, you can't blame director Mark Pellington who has had many big screen hits since his 1997 debut Going All The Way, it's the material that's to blame, it's predictable, clichéd and misguided – it doesn't work as a comedy. There are elements of comedy that spark there are a couple of gags more notably expressed from Brenda, this little girl brings heart to the film, she's energetic and has a lovable attitude, using her extensive f-bombs to change Harriet's ways of life.

The third act brings the most life to MacLaine's shining star power, when she's on her last words she shows strength of being a good person, something that the previous hour muddled up. The Last Word is an un-funny, predictable, clichéd, misguided and a sort of trashy excuse for a redemption story that doesn't deserve the polished star power of a long-lived Hollywood legend.

VERDICT: Although MacLaine fiercely gives her all, this is a misguidedly dim comedy-drama with fiery good intentions that push it through its ideas, but not enough heart to complete them.

Growing old and dying... Something we all will do. Individual definitions of "old" may differ, but we are all in the same boat. This movie presents the viewer with a poignant yet humorous map of how we can get from here to there. It makes you think and smile while dealing with a subject that is somewhere between uncomfortable and terrifying for most of us. My thanks to all involved! It was entertaining and educational at the same time - a rare feat!

Great cast. Great writing. Shirley McClain and Amanda were excellent together. The music was perfect.

First of all, a shout-out to Eric Koretz. This is not a film that calls attention to itself visually, but some of the cinematography is gorgeous. The film itself is generally enjoyable, and feels original enough for long stretches. Then it veers into predictability and even strains credibility at one point. The theme of a difficult or undisciplined person opening someone more conventional and reserved to a richer, more self-realized life is a pretty established one at this point and this film too often hits the marks of that sub-genre. Still, Shirley MacLaine is, well, Shirley MacLaine, even when she's playing to type, and Philip Baker Hall has a texture as an actor that makes him enveloping to watch all on his own; put them together in a scene and it doesn't get any better. Anne Heche doesn't do much here, but she does it with her usual assurance and delineation. Young AnnJewel Lee Dixon sparkles so here that it is astonishing to see she has not done more since. A number of other familiar faces are nice to see in smaller roles. (HOW does Sarah Baker, who has such an extensive list of credits and so clear a type, not have a fatter bio?) The scaffolding of the story pokes through a little overmuch sometimes, but the emotional life overall is consistent and strong. Oh, and there's one great sight gag which depends on no more than a slow pan down the speaker's face. Not a perfect film, but a film with some perfect moments.

This is just the kind of film that my grandparents would enjoy EXCEPT for the language. I should have counted the number of f-bombs.

Shirley MacLaine and Amanda Seyfriend were both great and the story was touching and funny. If not for the language I would recommend this much more. It's a shame.

SUCH a wonderful movie, it's pretty inspiring and you're definitely going to cry (some tears will be happy). Couldn't picture 3 more perfect people to represent the leading ladies. It's hard to explain to other people why they should watch a movie and feel the things that you feel while watching it. But I kind of think that's a lesson from this movie. Feel however you want, do what you want, but "make it matter".

As a longtime Shirley MacLaine fan, I'm surprised that this 2017 indie escaped my notice. It's a predictable but savory comedy-drama, with retired control freak MacLaine masterminding her obituary, and entrusting it to low-level reporter Amanda Seyfried, and aiming to generate a more sympathetic obit by taking AnnJewel Lee Dixon (and she's wonderful), a sassy 9-year-old, under her wing.

It's not entirely credible, it goes exactly where you expect it to: We know MacLaine will find a new sense of purpose, Seyfried will expand her potential (and fall in love, with an unremarkable Thomas Sadoski), and the female bonding quotient will be off the charts. Worse, it has practically no sense of place; at first the palm trees had me assuming Florida, then the mountains suggested the West. California? But MacLaine makes the most of her unsympathetic part, Seyfried adds grace notes to a somewhat one-dimensional character, and the life lessons are both amusing and plangent. A very nice little art house flick that should have gotten more attention.

The heartwarming tale of an abusive narcissist's final acts of manipulation and self-aggrandizement.

Wealthy woman, a former business titan living a very precise and orderly--and lonely--existence in her nearly-empty manor, wants the final say on her future obituary. Having kept her local paper alive for many years with her advertising dollars, she self-assigns the obituary reporter with the task of putting an optimistic spin on her life. What begins as a very thin character study of a straight-talking yet annoying harridan slowly blossoms into the much more rewarding story of a pushy old lady who manages to transform her bitter existence with friendship. Granted, friendship doesn't come easily to this control-freak, but what transpires on her journey to personal redemption is surprising and rewarding. The sassy dialogue in Stuart Ross Fink's screenplay doesn't ring true (and some of the actors cast in the smaller roles haven't a hope in hell of making it sound natural), but leads Shirley MacLaine and Amanda Seyfried develop a pleasing scratchy-and-smooth rapport (they also co-executive produced). MacLaine has yet another turn at playing a stubborn, impossible woman (she's making it a habit). While her Harriet here isn't necessarily a plausible creation, she's certainly a colorful bouquet of quirks, tied up with a cackle and a smart retort. ** from ****