Debuting Julien Hayet-Kerknawi's 'The Last Front' is an impressive first-time entry into the world of film. The movie punches above its weight class with a medium-sized budget that manages to deliver a cinematic experience rivalling that of major motion pictures. A future budget upsize seems inevitable for Hayet-Kerknawi, although one can't help but sense 'The Last Front' leaning more towards Dwayne Johnson-style action thrillers than a sincere representation of its historical roots.
Centering on the struggles of a Belgian community against WWII German occupancy, the film delves into the horrors imposed upon civilians by invading forces. Notable are the two principal characters, Leonard Lambert brought to life by Iain Glen and the deplorable German Army Officer Lt. Laurentz played by Joe Anderson. Laurentz serves as the quintessential antagonist, stirring viewers' desire for a grand retribution.
Details from Lambert's personal life seem somewhat truncated, emphasising mainly his pacifist values, while Laurentz's character is more akin to a brute force villain. The film does not prioritise deep character development or exploration. Comedy isn't the target here, despite the ironically named Lambert (after a lamb, traditionally pacific creatures) and Laurentz's father and superior officer Commander Maximilian (Philippe Brenninkmeyer) briefly enduring a gun to the head from his own son.
The film includes a host of supporting characters, primarily serving the purpose of keeping the audience on edge, questioning their potential sufferings at the hands of the trigger-happy Laurentz. The depictions of violence are limited to conveying the horrors of war without indulging any gratuitous gore. Regardless, 'The Last Front' has a distinct air of an action-driven revenge drama, evocative of notable flicks like 'The Patriot', 'Braveheart', or even 'Hacksaw Ridge', where the main characters single-handedly turn into one-man armies.
Given Lambert's suitability as a rebel leader against German forces and Iain Glen's previous 'Game of Thrones' role as a stoic hero, it is surprising that the film dwells at length on his internal conflicts before leading the resistance. However, despite this predictable plot, the film proves enjoyable due to its skilled performances and well-crafted cinematography. The action sequences are crisp and well-communicated, with stakes clearly outlined. Frederik Van de Moortel's intense score perfectly complements the dramatic plot, contributing significantly to the overall movie experience.
'The Last Front' may not offer an in-depth dramatised exploration into the psyche of its characters or the nuances of war, yet it delivers a satisfying action-packed narrative, using its impressive cast and technical skills to perfection. If ever a sequel to 'Taken' was to be made, surely, the team behind 'The Last Front', with a potential Nigel character played by Glen, a former MI-6 agent, seems surrealistically ideal.
