and the execution that satisfies it..
The Last King Of Scotland is a character driven drama about a friendship between two polar opposite personalities that is explored through geopolitical perspective.
The premise requires extraordinary chemistry between the lead characters and is delivered unflinchingly by the cast through their performance. But the primary reason why it works is that it isn’t based upon one’s textbook formula of depicting the bonding from the scratch.
These pragmatic characters bonds instantly with mature mutual objectives or ideology and the makers have somehow managed to keep it on the edge of the storyline that leaves the audience uncertain and unaware of the repercussions that it is breeding or where the track is leading to.
The writing is mature, adaptive and layered if not gripping, but is certainly worth the work it offers. The background score isn’t impressive but few songs are up beating along with metaphorical cinematography and fine editing.
The camera work with unusual theme draws the attention which is then celebrated by the cultural references and the knack for projecting inherent rituals that is well detailed. McDonald’s world is bolder and much smarter but as much as work it has invested on the semantics, it fails to foliate the subjective procedure of it.
As mentioned earlier, Whittaker has never been so convincing and so confident and on the other hand, McAvoy shows some promising range on portraying vulnerability and slick persona. The ruggedness among the three dimensional characters, its perpetual ideology and panache on methodology and, stellar performance that fuels this drama are the high points of the feature.
Armed with a fascinating and creative structure, The Last King Of Scotland is an art that demands to be explored upon and its the writing that demands it and the execution that satisfies it.