The Punisher: One Last Kill

 

Now that he’s finished avenging his murdered family, Force Recon Marine-turned-vigilante Frank Castle (Jon Bernthal) is left haunted by past traumas and lacking a reason to live. Meanwhile, in the wake of his rampage against organized crime, violent street gangs have filled the void in Little Sicily. However, the Gnucci crime family that Frank thought he had extinguished is not finished yet. Matriarch Ma Gnucci (Judith Light) has survived and put a bounty on his head.

A controversial character, The Punisher is easily misunderstood and just as easily dismissed as a simplistic fascist. Across his appearances in Daredevil and his own solo series, Bernthal succeeded in giving the character layers as his iteration of Frank is just as capable of wisecracking and protectiveness as he is of ruthless killing and primal rage. Given this feel for the person behind the skull symbol, it is both confounding and disappointing that Bernthal, who wrote One Last Kill, supplied him with such lackluster material here.

As with The Punisher series, the acting and action outpace the writing. Frank, PTSD-stricken and suicidal, is as broken as we’ve ever seen him, and Bernthal convincingly conveys his pain. At the same time, when he’s backed into a corner, he reverts to being a one-man army, dispatching thugs with guns, knives, bats, and more. While the film was (rightly) lambasted for some dodgy SFX shots, Reinaldo Marcus Green’s direction is largely competent. The real problem here is the tone. Whereas the MCU version of The Punisher has been fairly grounded, the roving street gangs and ultraviolent mayhem push One Last Kill into cartoonish territory. We’ve seen an over-the-top version of The Punisher before in Lexi Alexander’s 2008 film War Zone, and it was something of a guilty pleasure. Here, it accomplishes nothing but undermining the sincerity of the pathos displayed.

Beyond that, One Last Kill does little to move the needle narratively. Returning characters are reduced to hallucinations Frank experiences while new ones get very little development. Some hammy dialogue aside, Light at least leaves an impression during her brief screen time. Andre Royo (of The Wire fame) is wasted as a beleaguered shopkeeper. Thematically, the question that One Last Kill poses about the value of Frank’s crusade was already answered – and answered better – by a fan film (Dirty Laundry, featuring Thomas Jane) more than a decade ago.

Despite these very glaring flaws, One Last Kill doesn’t quite merit an automatic “skip.” It’s only fifty minutes long, and both Bernthal’s acting (as strong as his writing is weak) and the increasingly creative ways Frank inflicts damage may be enough, for some, to justify the investment of that little time. Those wanting more, however, can safely sit this one out and instead look for the character to return in the next Spider-Man film.