Stanley is a dying breed.
He’s a 38-year veteran of Oscar’s Chicken and Fish, a run-of-the-mill fast meals joint in Albion, Michigan, the place he’s the night supervisor. Days sooner than his retirement, he nonetheless lives with two deadbeat roommates, makes lame “Terminator” jokes, and doesn’t understand how one can drive. But his ardor lies with hamburger patties and honey-mustard sauce. Hollywood, which tends to glorify glitzier jobs than this, forgets guys like Stanley exist.
His remaining week of labor is the subject of “The Last Shift,” writer-director Andrew Cohn’s sharp new drama about middle-class work, race, and our perceptions of every.
Awkward Stanley (Richard Jenkins) has decided to maneuver to Florida to be near his mother, so he’s suggested to teach Jevon (Shane Paul McGhie) as his difference. Jevon is a black high-school youngster, and father, who’s simply currently out of jail on parole. He thinks of himself as above the job, having had a column in his college paper, and aspires to an additional ingenious life.
At first, they spar. “If I’m still here at your age, put me out of my misery, please,” Jevon says. But step-by-step they warmth to 1 one other, even having fun with a pleasing recreation of frozen hamburger-patty hockey to make the graveyard shift go sooner.
You assume you acknowledge the place Cohn’s film is headed when an altercation throughout the car parking zone hits you need thoughts to freeze from a milkshake. A persona we thought we knew cracks and goes down a ruthless path.
The wrench throughout the plot is aided by Cohn’s choice to eliminate our typical fluorescent-light affiliation with fast-food consuming locations and make Oscar’s brooding and shadowy. There might be french fries and suspense.
Jenkins, who has seemingly been in every movie throughout the closing 20 years, is commonly tapped for authority figures or assured characters. Think of his cigarette-smoking Nathaniel in HBO’s “Six Feet Under.” His mesmerizing Stanley, with downcast eyes, shaky speech patterns, and erratic actions, is the opposite. He’s a weird earlier man who you’d be glad to see often at a takeout window, if not ever as a dinner companion.
His head-butting with Jevon is truthful and fascinating. McGhie, whose eyes have such depth, speaks like a proficient debater as he tries to influence him Oscar’s, which pays Stanley $13.50 an hour, has cheated the schlub out of money for a few years. The duo moreover argues about race in such a method the place you see both sides — a tall order.
What to not anticipate from this movie, however, is grandiose emotions or Oscars-y shouts. It’s a low-key rest-stop story that appreciates life’s banalities and the struggles of strange people.