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The Last Station

The Last Station

Drama · Romance · 2009

A historical drama that illustrates Russian author Leo Tolstoy's struggle to balance fame and wealth with his commitment to a life devoid of material things. The Countess Sofya, wife and muse to Leo Tolstoy, uses every trick of seduction on her husband's loyal disciple, whom she believes was the person responsible for Tolstoy signing a new will that leaves his work and property to the Russian people.

Movie details

The Last Station

“Intoxicating. Infuriating. Impossible. Love.”

2009 Drama · Romance 1h 52m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

A historical drama that illustrates Russian author Leo Tolstoy's struggle to balance fame and wealth with his commitment to a life devoid of material things. The Countess Sofya, wife and muse to Leo Tolstoy, uses every trick of seduction on her husband's loyal disciple, whom she believes was the person responsible for Tolstoy signing a new will that leaves his work and property to the Russian people.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Last Station?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Michael Hoffman

Written by

Michael Hoffman

Helen Mirren

Helen Mirren

Sofya Tolstoya

Christopher Plummer

Christopher Plummer

Leo Tolstoy

Paul Giamatti

Paul Giamatti

Vladimir Chertkov

James McAvoy

James McAvoy

Valentin Bulgakov

John Sessions

John Sessions

Dushan

Patrick Kennedy

Patrick Kennedy

Sergeyenko

Kerry Condon

Kerry Condon

Masha

Court is in session

Put The Last Station on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.