The Last Song Reviews

  • Here's the revelation: Miley Cyrus is a really interesting movie star in the making, with an intriguing echo-of-foghorn speaking voice, and a scuffed-up tomboyish physicality (in the Kristen Stewart mode) that sets her apart from daintier girls.

    Lisa Schwarzbaum — Entertainment Weekly

  • It can't manage to sort through its various issues in any dramatically compelling way, instead falling into a slack, soap-opera rhythm in which potentially catastrophic developments seem to have no lasting emotional effects.

    A.O. Scott — New York Times

  • All the obvious elements combine to manipulate the audience into a weepy time at the movies -- again.

    Claudia Puig — USA Today

  • Cyrus is game and appealing, but she's not nearly enough of a natural actress to pull off the emotional whip-cracks the story puts Ronnie through.

    Dan Kois — Washington Post

  • The director, Julie Anne Robinson, makes sure that any scene that might culminate in thought or reflection instead becomes a montage set to music.

    Wesley Morris — Boston Globe

  • It's hard to believe this bland starlet is the same spunky kid who bounced through the Hannah Montana movie just last year, but it's only fair to cut Cyrus some slack.

    Elizabeth Weitzman — New York Daily News

  • The movie moves Ms. Cyrus from where she was to more or less where she and her handlers wanted to be, and Mr. Kinnear's musician father, Steve, adds a generous measure of grace.

    Joe Morgenstern — Wall Street Journal

  • It's like Dante and Beatrice all over again, with the Georgia coast standing in for Paradise.

    Mary F. Pols — MSN Movies

  • I like Miley Cyrus. I like her in spite of the fact that she's been packaged within an inch of her life.

    Roger Ebert — Chicago Sun-Times

  • Sand dunes at sunset, summer lovin' (had me a blast!), a third-act medical crisis and a clutch of letters designed to be read aloud in voice-over: Another month, another adaptation of a Nicholas Sparks romance.

    Michael Phillips — Chicago Tribune

  • Years on the Hannah Montana TV series have not adequately prepared Miley Cyrus for screen acting, even in a vehicle as unchallenging as this adaptation of a Nicholas Sparks novel.

    Andrea Gronvall — Chicago Reader

  • Robinson is a sympathetic director of actors, allowing almost everyone their dignity. For the most part, she keeps this emotionally charged story in the schmaltz-free zone.

    Carrie Rickey — Philadelphia Inquirer

  • [Cyrus is] believable as Ronnie partly because she, too, is 17 and at a crossroads in her life.

    Jon Bream — Minneapolis Star Tribune

  • Cyrus, alas, hasn't yet learned not to act with her eyebrows and overbite. But she does show off her considerable chops as a pianist and remains reasonably likable throughout.

    Rob Nelson — Variety

  • It's the worst of both worlds as Disney cash cow Miley Cyrus makes the most dubious "dramatic" debut of any singer since Britney Spears.

    Lou Lumenick — New York Post

  • It's not a great film, with some edge Sparks put in the novel left out of the script. But there's real chemistry between the young lovers.

    Roger Moore — Orlando Sentinel

  • Sadly, without a single note of originality, Last Song is an awfully long and tiresome tune.

    Bruce Demara — Toronto Star

  • Perhaps feel-good tragedy doesn't quite capture it; feel-good sadism might be more like it.

    Liam Lacey — Globe and Mail

  • The predictable plot mechanics aren't what make it insufferable. The big problem is Miley Cyrus.

    Stephanie Zacharek — Salon.com

  • A dramatic showcase for a more grown-up Miley Cyrus, but not much more.

    Kirk Honeycutt — Hollywood Reporter

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