The Last Son is a grim, atmospheric Western that explores the fatal pull of destiny, bloodlines, and a man’s desperate attempt to outrun fate. Set in the snowy wilderness of the late 19th-century Sierra Nevada, the film follows Isaac LeMay, an outlaw cursed by prophecy and haunted by his own violent past.
Played with quiet intensity by Sam Worthington, LeMay is a man tormented by a chilling prediction: one of his own children will grow up to kill him. Rather than accept his fate, he sets out on a dark and lonely path to find and eliminate each of his offspring before the prophecy can come true. It's a brutal mission, one fueled by fear and madness, and it leaves a trail of sorrow across a desolate, frozen frontier.
Among LeMay’s children is Cal, a wild and dangerous young outlaw played by Colson Baker, also known as Machine Gun Kelly. Cal mirrors his father in rage and recklessness, setting the stage for an inevitable and violent confrontation. But there are others, too—some unaware of their connection to LeMay, others innocent of any wrongdoing, caught in the crossfire of a man who sees death in every shadow.
Directed by Tim Sutton, The Last Son leans heavily into mood and silence. The film’s wintry setting becomes a character of its own—cold, empty, and unforgiving. Every scene is soaked in tension, with wide-open landscapes contrasting the suffocating burden LeMay carries. This is not a film of fast-paced gunfights, but one of slow burns and heavy stares, where death is always close and redemption feels out of reach.
Supporting performances by Thomas Jane and Emily Marie Palmer add weight to the bleak tone, though much of the emotional core rests on Worthington’s brooding presence. He plays LeMay not as a hero or villain, but as a broken man trying to shape his own end before fate finds him.
The Last Son is a Western that strips away romance and glory. It’s a story of prophecy, fear, and the violent cycle of inheritance. There are no clean endings, no salvation—only the question of whether we are doomed to become what we fear most. In this world, the past never dies. It simply reloads.
