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I don't have all the words right now but this film is a work of art.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

"Last of the Mobile Hot Shots" originally got an X rating when it was first released, which is puzzling because even by 1970 standards the movie isn't that explicit. In fact, by today's standards it's possible it might get a PG-13 rating. But all the same, the movie hasn't improved over the decades. The stage origins of this story are all too evident. Director Sidney Lumet tries his best to keep things moving, but with almost all the story taking place in one specific location, the movie quickly becomes boring. The actors do try, and aren't that bad in the end, but because the movie is almost all talk (and talk that isn't particularly interesting for the most part) and no action, their great efforts don't liven things up that much. However, if you have ever wanted to see James Coburn do a nude scene, here's your movie.

Based on an overlooked Tennessee Williams play ,also known as " kingdom on earth";it was not the first time Lumet had filmed a Williams work :"the fugitive kind" in 1960 was not particularly memorable ,a vehicle for the playwright's good friend Anna Magnani."Last of"...AKA "blood kin" is ,in spite of a poor rating,a more interesting adaptation :Lumet is at ease when he works in an enclosed place (see for that matter "twelve angry men" "murder on the orient express" "a dog day afternoon" "deathtrap").James Coburn is cast against type as the owner of a southern property which has known better days but the actress is not exactly how Williams depicted her in his play:"a poor man's Marilyn Monroe" .There are only three characters but interest is sustained till the end with a final unexpected revelation a la "suddenly last Summer" .There are many flashbacks ,not unlike those of Brooks' "cat on a hot tin roof" and the beginning of the movie is a good trick ,a spoof on stupid contests .It was a cinematographic play with its impending flood and its neglected yard where the new wife lets her domestic appliances Interracial triangle in which the Myrtle/Chicken relationship sometimes recalls Blanche /Kowalski;the sexual tension is represented by the rise of waters ,and "to go up on the roof" means "to make love" in Williams' language (it's the last line of the play)."The seven descents of Myrtle" ("kingdom on earth" ) is to be staged in Paris next September with pop singer Johnny Halliday as the terminally-ill owner,under the French title " LE Paradis Sur Terre".

This is clearly lesser Tennessee Williams, and must be seen to be believed. Lynn Redgrave's character and James Coburn's character get married on a TV show (despite the fact that they barely know each other) and return to his family's derelict plantation. The only other occupant is his half-brother (Hooks). The action of the film involves Redgrave going back and forth between the two men while they flash back to scenes of their dissolute past. All the while, the river is threatening to overrun its banks. That's it. That's the film. I like Williams' major works as much as most people, though to be honest, I usually prefer the "cleaned up" Hollywood versions of his stories, not because of the sanitized plots but because of clarity. But lesser-known plays like "Seven Descents of Myrtle" (on which this film is based) and "The Milk Train Doesn't Stop Here Anymore" (on which "Boom!" is based lack even the compelling elements of his more familiar dramas. When producers tried to cash in on Williams's good name by buying up everything he ever did, they ended up making puzzling junk like this.