The Last Train


The high concept here arises with plans for a Uruguayan locomotive to be sent to the United States for use in a Hollywood film. The 33, as it’s known locally, is “a jewel of national heritage,” and a few old lefties from the Friends of the Rails Association won’t let it go without a fight. So they steal the train. The fine cast certainly pulls its weight, and the 33 becomes a character in its own right. Director Diego Arsuaga doesn’t say much about the movie in which the locomotive had been cast, and doesn’t need to, but in its shrewdest moments, his film itself suggests a subversive take on that old American saw, the traveling-fugitive buddy picture. Arsuaga’s gang of aging romantics, tracking through their country’s forlorn rural landscape and outfoxing cops along the way, can’t help but appeal to American moviegoers.

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