La Última Película

The movie revels in multiple film stocks (with hairs or threads often on the camera lens) and self-conscious “Last Movie” flourishes (long intervals between credits, “scene missing” title cards, a version of “Me and Bobby McGee”) while maintaining its blithe humor.

The film isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.

Martin and Peranson, a savvy pair, appreciate their outsider status here, and they remain uncommonly sensitive to even the subtlest ways that ignorance and entitlement may manifest themselves — both in art and in our relationship to it.

There’s a sketchbook quality to La Última Película; it’s like notes for a movie that never really got made. Because the film is stubbornly unpolished, it all but dares viewers to scratch their heads and say they don’t get it.

The longer the proceedings go on the more wearisome they get, with Perry's character quickly wearing out his satirical welcome. By the time it's over, you'll almost wish that La Ultima Pelicula would live up to its title.

A few droll and/or silly moments poke through the general boredom. But Martin and Peranson’s snarkfest doesn’t really offer any critique that Hopper didn’t already aim at himself, however incoherently, in the supremely self-conscious “Last Movie.”