The Last Heist

Henry Rollins' performance as a philosophical L.A. serial killer is the only reason to see this slipshod indie bank-hostage thriller.

The film rarely comes to life because Rollins, the only compelling actor in the otherwise amateurish cast, is underutilized, and virtually everything else underdeveloped.

While it has a sharp hook - and is reasonably diverting - it never rises above the routine.

Some of it, like the ending, becomes a bit much, but Rollins and Coombs presences along with an interesting story with plenty twists and a good pace make it worth checking out.

[The Last Heist's] quietly, softly gripping even in spite of the twists being a bit obvious and never less than entertaining. See it for Rollins, stay for the loopy, low-budget, low-stakes fun.

Your enjoyment of [the film] is contingent almost entirely upon the ability to forgive shoddy scripting... mediocre acting, fitful pacing, laughable effects and visuals that test the bounds of the word "cheap" under the guise of B-movie fare.

You've seen this heist movie a thousand times before, and not even an eye-snatching serial killer can liven up such archaic plotting.

There's not much drama, because the characters are so one-word thin [...] that it's hard to care what they do or what's done to them.

Basically covered in digital manipulation, ruining potential tension and weakening shock value, finding attention drawn to iffy craftsmanship, not core dramatics.