At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Exactly the movie you think it is, but not the movie you want it to be.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

This is one of those movies that nobody has heard about, it has little or no push from the studio, the actors and actresses are no names, and on the surface it appears to be an obvious plot. But hold the horses, this one will surprise you. The no name actors and actresses are truly superb, the story is original and gripping with many tense and suspenseful scenes, and the emotional connection this movie will evoke is timely and thought provoking.Bottom-line.....every now and then a little known movie makes the rounds and garners some minor attention and then quietly goes away. This fine film deserves more, it's a sleeper that should be viewed.

Terrorism comes to the suburbs of Melbourne in this taut, claustrophobic drama. Sadiq (Firass Dirani, from Underbelly, etc), a wounded suicide bomber on the run after a synagogue bomb attack, takes an elderly Holocaust survivor hostage in this new Australian drama. Mrs Lippmann is gagged, her hands tied to a chair, while Sadiq tries to figure out his next move. Over two days the pair begin to bond while Sadiq waits for his terrorist cell to contact him. Outside police are searching for Sadiq, while inside the pair eventually start to find some common humanity in each other's situation. Mrs Lippmann (Julia Blake) overcomes her initial terror and, with a sense of compassion, treats Sadiq's wounds. Mrs Lippman's son died while serving in the Israeli military, which adds a deeply personal element to their situation. Over the two days the balance of power subtly shifts. Last Dance is the debut screenplay from writer Terrence Hammond, and it explores some big themes – the legacy of the Holocaust, survival, guilt, family, revenge, Islamic terrorism, the importance of human life, and the complex issue of the volatile conflict in the Middle East. But Hammond, who spent eight years developing the script, seems intent on being non-judgemental. He takes easy options rather than trying to push the material into a more edgy and controversial direction. Last Dance is fairly theatrical in its staging, as most of the drama is confined within the claustrophobic space of Mrs Lippmann's apartment, giving the material a pressure cooker atmosphere. This is the first film from David Pulbrook, a former editor who has worked on films like Hotel Sorrento, etc, and although he handles the material efficiently enough, Last Dance lacks any real sense of tension or danger. This is essentially a two-handed drama and the two central performances are excellent. Blake, a stalwart and one of Australia's most respected theatre veterans, is impressive here and she brings compassion and reserves of strength and resilience to her performance. Dirani is well cast and manages to make his terrorist sympathetic as he moves from hatred to uncertainty. Alan Hopgood's well-meaning but nosy neighbour seems more like a caricature. Nonetheless this is still a superior example of a local production that should resonate strongly with audiences both locally and overseas.