‘The Last Rodeo’ Review: Neal McDonough Anchors a Familiar but Affecting Drama About a Bull Rider’s Risky Comeback

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Frequently, older movie enthusiasts express their dissatisfaction by saying “They just don’t make movies like they used to,” often longing for films such as “The Last Rodeo.” Directed by Jon Avnet, who is known for films like “Fried Green Tomatoes” and “Up Close & Personal,” this movie was smoothly directed from a script he co-wrote with Neal McDonough and Derek Presley. Despite being completely predictable, it’s hard to ignore its appealing charm, which, with slight adjustments, could easily be mistaken for an old Walt Disney Studios production.

Veteran actor McDonough, known for playing hardened characters in shows like “Justified,” “The Flash,” and “Yellowstone,” as well as his latest role opposite Sylvester Stallone in “Tulsa King,” demonstrates the same level of skill in this film as he does when portraying characters who side with the good. In this story, McDonough takes on the character of Joe Wainwright, a retired bull rider whose neck was injured while riding an aggressive bull, an accident partly caused by his own recklessness following a drinking binge. It’s worth noting that Joe’s poor decision to ride the bull came after he had lost his wife to cancer, a loss that drove him to alcohol. Ruvé McDonough, the actor’s real-life spouse, makes a brief appearance in flashbacks as their on-screen counterpart.

After my father’s prolonged recovery, I found myself temporarily pausing my life to care for him. I haven’t openly grumbled about assuming this responsibility, but when my little boy Cody dreams of following in his grandfather’s footsteps, I firmly veto the idea, making it clear that I’m not on board with this decision at all.

Thankfully, when “The Last Rodeo” starts, I find Cody showing more enthusiasm for baseball. Unfortunately, after getting hit by a ball during a Little League game and needing medical treatment, he receives a devastating diagnosis – a brain tumor. Naturally, it’s heart-wrenching to realize that Sally’s insurance coverage is insufficient to cover the enormous medical bills for her son.

If the tune you’re listening to sounds familiar, it might be because there was a similar plotline in “Ride,” Jake Allyn’s gripping drama about a rodeo family pushed to the edge (as they resorted to stealing from a drug dealer to cover their young daughter’s cancer treatment costs), not too long ago.

In the movie “The Last Rodeo,” Joe seems to undertake an action that could potentially be as risky or perhaps even more so, in order to aid his grandson. Can you guess what that may entail by considering the film’s title?

Coincidentally, just when it seems like destiny and a bit of scriptwriting convenience, an upcoming Legends Rodeo competition sponsored by the Professional Bull Riding Association is set to commence upstate in Tulsa, Oklahoma. To secure the $1 million prize money, Joe needs to revive his worn-out fiftysomething physique, disregard the sensible cautions of his daughter, persuade Charlie Williams, a rodeo buddy with doubts but strong religious beliefs, to train him, and convince Jimmy Mack, the PBR’s image-conscious chief, to approve his late entry as the oldest participant ever in the Legends event’s history.

In “The Last Rodeo,” credibility isn’t exactly questioned; instead, it’s deliberately overlooked in many instances. If not for Neal McDonough’s unwavering sincerity and boundless determination, the movie might have been dismissed as absurd. His strong jawline, intense blue eyes, and confident (though sometimes unsteady) walk give his character a physical presence that significantly boosts the authenticity of his performance. This physicality convinces the audience that Joe can handle any challenge, be it taming a rebellious bull or standing his ground in a barroom fight.

As I found myself amidst the bustling world of professional bull riding, McDonough skillfully portrayed a sense of vulnerability that resonated deeply with me, a fellow cinema enthusiast. This was particularly evident when he faced off against younger competitors, such as the self-assured defending champion Daylon Ray Harrington, who seemed to exude an air of arrogance. The taunts from his detractors, former admirers who mockingly suggested I’d overstayed my welcome at the party, only served to amplify this sense of vulnerability, making McDonough’s character all the more relatable and endearing to me.

The bull riding scenes appear authentic for the most part, but it’s not hard to spot when stunt doubles are used. It should be noted that the scriptwriters resist resorting to miraculous events for a positive outcome. Instead, they introduce an element of realism in the climax by presenting a third-act backup plan. In actuality, such a solution might have been suggested earlier by ordinary people.

The actors playing secondary roles are perfectly suited for their parts. Williamson skillfully balances his character’s sincere appeals to trust God, making Charlie appear supportive instead of pushy. Christopher McDonald occasionally reminds us of the strict host he portrayed in “Quiz Show,” which is actually a positive attribute.

The side characters are great choices for their roles. Williamson does a good job of not making his character sound too preachy, but supportive instead. Sometimes, Christopher McDonald makes us think of the strict host from “Quiz Show,” and that’s a good thing.

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2025-05-23 03:16