Albion, Michigan is not a particularly pleasant place to live, often being referred to by derogatory names, mostly by its residents, who don’t see anything particularly positive about the small town. One of the staples of the community is Oscar’s Chicken and Fish, a regional chain of fast-food restaurants that is just as gaudy as its name would suggest. Not a profitable business, but one that does draw in a few regular customers, it has stayed an active part of the town in one way or another for quite a while. One person who calls this establishment home is Stanley (Richard Jenkins), who has been working there for nearly forty years – but since he is now at an advanced age, and understands how he can’t work there forever, he realizes he should start working towards retiring, with his final shift being in the very near future. As a response, he has to train his replacement, who turns out to be Jevon (Shane Paul McGhie), a young, aimless man who has recently been released from a short stint in prison, and is looking to lead an ordinary life as an upstanding citizen, which is only complicated by the young man’s defiance of authority and refusal to follow socially-mediated traditions, finding flaws in every convention he encounters. The two men immediately are at odds – they are about as different as two people can be, coming from different racial groups, economic backgrounds and generations, as well as holding conflicting views about the direction their country is heading. However, the more they work together, the further they begin to understand one another, and realize that they may have more in common than they thought, particularly in how they both share the insatiable desire to live a life that makes them happy, while remaining true to themselves, which is perhaps the most uniting quality of them all, and what helps them come to a mutual understanding that they may not be so different.

The Last Shift is an extremely simple film, the kind of small, intimate independent comedy that is simultaneously funny and heartbreaking, while never being too overly concerned with providing a spectacle, since it understands that the target audience will be those that are normally invested in these smaller, character-driven films that hinge on the quieter moments contrasted with brief spurts of energy. Andrew Cohn, who was making his narrative directorial debut, establishes himself as a fascinating voice beyond a few years working in documentary filmmaking. There isn’t much to this film other than what we’d expect to find after a cursory glance – two polar opposites are forced together, and overcome a shared problem that is resolved through realizing that they share common ground on a few pivotal issues, which helps invalidate the surface-level hostilities that they harboured towards each other. It takes on the structure of the “odd couple” scenario that has been parodied, paid tribute to and deconstructed in every conceivable way, making it a common trope that still serves to be fertile ground for some profoundly moving explorations of the human condition when done well. The Last Shift is not a perfect film – it’s easy to tell that this was written by someone only starting out in the medium of narrative storytelling (with some of the dialogue being trite, and certain plot elements hopelessly convenient, which would be distracting had the film itself not been so compelling), but what it lacks in nuanced experience it more than compensates for in the sheer humanity that underpins every frame, and proves how absolutely enthralling a story well-told can be when put together with the dedication of actually spreading a message while reminding us of the value of friendship. It all sounds a bit convoluted, but in the context of the film itself, it manages to be quite lovely for the most part.

One of the most intelligent decisions ever made in terms of contemporary filmmaking was by the person who decided that Richard Jenkins was capable of being a leading man. One of the most reliable character actors of the past few decades, and someone whose presence nearly always elevates the project, even when it is far beneath his talents. However, while he flourishes in supporting roles, it’s the few times he has been the central character that showcases was a gifted actor he is. The role of Stanley in The Last Shift doesn’t appear to be a particularly complex one – ultimately, the role requires an older man who can play grizzled and resigned to his impending retirement, which is hardly a stretch for most actors. However, there is far more to the role, and Jenkins possessed the exact balance of grouchiness and empathy that makes Stanley such a compelling (and ultimately heartbreaking) protagonist. His chemistry with Shane Paul McGhie is incredible, and the two actors manage to play off each other in a way that feels very natural and authentic to the overriding concept of the film, which only increases the impact of the climactic scenes, where the more serious subject matter starts to take over. Films like The Last Shift really do depend on how convincing the characters come across, and as essentially a two-hander, it manages to effectively convey the trials and tribulations of these two protagonists as they get to know each other, giving us remarkable insights into their lives and the various challenges that they face, while still being able to be a very charming comedy that finds the right combination of lovable humour and tender drama in how it develops its central characters.

We may not always have a clear understanding of what is being said in The Last Shift, but it’s abundantly clear that whatever it is, it has a lot of impact, since it is made by someone who clearly has a lot of compassion for the people these characters represent, and feels strongly about the issues that they raise. The subject matter of the film can sometimes be quite heavy – there are moments where Cohn touches on issues such as poverty and unemployment, and well as subjects that are still very resonant today, such as white privilege (a subject that has never been more relevant today), and the role race places in constructing contemporary America, where we are often defined less by our individual merits, but judged by the colour of our skin, which brings with it a set of preconceived notions that only serve to heighten the tensions. This film mercifully doesn’t make the dreadful mistake of trying to be the definitive word on any of these issues, but instead gradually makes its voice heard as a profound piece of commentary that doesn’t purport to have the answers, but is willing to do its best to show the truth. Sometimes, not every work of art needs to provide solutions, since there are times when simply stating that there is a problem is enough to provoke thought. Perhaps these themes are slightly heavy for a small comedy such as The Last Shift, but Cohn does manage to insert a few moments that are equally profound and funny, such as one where one of the protagonists, after retiring from a position he’s held for 38 years, receives a $50 gift card to a sporting goods store – and in these moments, we’re never told what to feel, or even explicitly guided to a particular meaning, being given the benefit of the doubt to figure it out for ourselves, which makes a big difference in a film that seems so invested in developing its characters as much as it is intent on exploring some deeper, more complex themes that relate to the broader world at the same time.

The Last Shift is a multilayered film. It’s not one we haven’t seen done many times before, and these quaint retail-based comedies that are vaguely anti-capitalist in their message have become a dime a dozen, mostly since they’re part of a broader discussion surrounding minimum wage workers and how many people in the United States struggle to make ends meet while those above them manage to live luxurious lives. Added to this, the film addresses some deep issues that are just as pressing, doing it through the lens of a buddy comedy that focuses on two wildly different men coming to know each other, working through their hostilities and hesitations, and finding coming ground. Cohn is a very gifted filmmaker with an eye for detail, and while his film may be lacking in certain areas, such as the writing being in serious need of improvement, the general tone and sensibility of the film is worth the time. Like many independent comedies, this fil doesn’t immediately stand out, and most prospective viewers are likely to find it by stumbling upon it, rather than through word-of-mouth, or having their attention drawn to it by the premise, which isn’t all that enticing if we just focus on the synopsis. What isn’t clear from a cursory glance is how gripping this film is, and how beautifully simple it manages to be, even when it is looking at some intimidating subjects. Entertaining, but with a fascinating amount of depth and an even more poignant sense of self-awareness, The Last Shift is a wonderful film that takes its subject matter seriously, while not neglecting to have some fun in the process.