Francesco Sossai’s  The Last One for the Road is an Italian feature that follows Carlobianchi (Sergio Romano) and Doriano (Pierpaolo Capovilla), two friends on a quest for one last drink as they wait for their friend, Genio (Andrea Pennacchi); however, this leads to a night of misadventure where they befriend a young student Giulio (Filippo Scotti) who they take under there wing.

With The Last One for the Road, it aims to be a mix of odd comedy and nostalgic drama: two men try to find one last drink, only to look back and realize they threw everything away. For me, this cocktail doesn’t quite work, as we have Carlobianchi and Doriano so focused on this drink that I find it ridiculous that they would have such a lightbulb, heartfelt moment.

The quest for this drink is a strong point. Sossai captures the genuine feeling everyone has when a night out suddenly turns into the next day, and you remember how bizarre the following night was. A great small moment of that absurdity is when they stop at an American Country-themed bar in this random Italian village on the way to meet Genio. Doriano sees a prawn cocktail drink, light shines on it, almost as if it’s the equivalent of The Holy Grail. The scene is hilarious because it feels so out of place and can set the tone that this night is going to get weirder. We, the audience, are the third unofficial third wheel dragged along with these two.

This creates an interesting and familiar feeling because you are, in a way, cheering them on, while at the same time feeling responsible for them, like you would for a good night out with a friend.

The silly, comedic tone clashes with the film’s attempt at reflection, which doesn’t really land, as the main characters continuously dig their own graves, never finding a moment of redemption. I found the concept of two idiots just constantly getting themselves in even more trouble for this last perfect drink far more entertaining than a surface-level reflection on ‘the good old days.’ This lack of meat in the story drags the plot. When you finally meet Genio, nothing feels earned or necessary.

The film also tries to tie in how a community can quickly change through gentrification, the closing of local industry, and people leaving, which doesn’t add anything new. However, I did laugh when Doriano, Carlobianchi, and Giulio found Genio, trying to dig up his small fortune he left behind before leaving, only to find it now a house under construction, with the ground cemented so he can’t dig it up at all. The disappointment on his face is priceless.

Sergio Romano as Carlobianchi in this friendship really comes across as the one who is always trying his hand; he is the type of guy we see asking for a smoke or trying to get a drink off someone, as they call it, “minesweep.” He carries a bulletproof attitude, but underneath is someone who clearly does it to remind himself of what it was like when he was young.

Pierpaolo Capovilla, as Doriano, is the one with no filter. If you met him at a nightclub, you would just nod and hope he would leave; however, like Carlobianchi, he is desperate for that feeling of carefree, irresponsible youth.

The Last One for the Road is like a cocktail, a mixture that starts strong, but waters down the more you sit with it. Trying to get a drink with a friend can lead to roads unknown, but the film aims for an emotional cathartic experience with two guys who only really care about a drink, let alone reflect. The results are muddy and lackluster.

Review Courtesy of Matthew Allan

Feature Image Courtesy of Simone Falso, Vivo Film, and Maze Pictures