I waited for years to see this film, and I must say its a complete disappointment. Not one second did I believe that George C. Scotts character would risk his life for the gangster and his moll. Trish Van Devere was completely miscast in this part, as she appears too nice to engage in the manipulation she dishes out in the film. Actually, all the characters are unbelievable, and the acting is self-conscious, as if everyone is aware they are in a production. Perhaps this is a result of the many script changes and change of directors,it has an uneven, pasted together feel to it. And was George C. Scott's character life so empty for him to align himself with these people? The film did not show that. In fact he seems to have some strong and loyal friendships in the beginning of the film. Please don't say I don't understand the film-I do, it just was not very good. To see a good film from writer Alan Sharpe's work, see "Night Moves."

The Last Run is a forgotten gem. George C. Scott lives a lonely life in a small fishing village in Portugal. His son has died and his wife has left him. His life has lost meaning. He decides to be once again a getaway driver to get back into the game of life. Of course it is a girl that brings this all out in the open.The music by Jerry Goldsmith is poignant and beautiful. Alan Sharp's writing is sharp indeed. And moving as well. Right up there with the screenplay for Arthur Penn's Night moves, which Sharp also wrote.I strongly recommend this movie. I give it a straight A.

A really excellent film, written by the wonderful and neglected Alan Sharp (see Night Moves). Scott is great and in an era of endless explosions and car chases, this is a welcome, intelligent relief.Richard Fleisher did several good early noir films before his late career as a hack TV director. Also, this background reminds one of Frears film The Hit. (or is it The Last Hit?)...anyway,the writing is first rate, as always with Sharp and the characters quite memorable. Why is it so overlooked? This is the kind of genre piece that simply doesn't get made anymore. All performances are solid --- and I also have to wonder at the career of Richard Fleisher. From something as good as this, to his late work will remain a filmic enigma.

Other viewers' comments, both negative and positive, have aptly classified this film's genre. Those with inclination toward existentialist thought (e.g., why are we here and what are the best options before embracing the void?) generally like it. I think the film great and wish it were available on DVD. Others find it vapid. Yet I think the theme similar to that found in Blade Runner or Pierrot le Fou - though different from, say, Kafka's Metamophosis, or The Trial, or from Camus' The Stranger, etc., in that this film's protagonist undergoes emotional development - along with another character who fears her fate and sees no other path to follow. Our protagonist's past life as an underworld character is significant not in the cops-and-robbers sense, but rather as an earmark of his "loner" personality - like Camus' Stranger. He's a retired individualist - like Blade Runner's Deckard - who after a career on the "outside" is sucked against his will into a melee of action and intrigue. All he'd longed for was to finish out his days in peace - in Portugal - though one can wonder if his automotive hobby (his surrogate child) and petty daily ritual could really have sustained him - yet such is the trap some see themselves born into; perhaps an earlier, unexpected coup de grace isn't to be under-appreciated.