Movie Info
Genre: Romance, Drama, Kids & Family
Synopsis: Based on best-selling novelist Nicholas Sparks's ("A Walk
to Remember," "The Notebook") latest novel, THE LAST SONG is
set in a small Southern beach... [More]
Rated: PG [See Full Rating]
Running Time: 1 hr. 47 min.
Miley Cyrus Liam Hemsworth
(Ronnie Miller) (Will Blakelee)
Greg Kinnear (Steve Miller) Hallock Beals
(Scott)
Bobby Coleman
(Jonah Miller) Kelly Preston
(Kim)
How do I find thee ridiculous, The Last Song? Let me count the
ways... 1) Miley Cyrus plays Ronnie, a surly teen who played
Carnegie Hall at age seven, got into Julliard without an audition, and
rebels by refusing to play the piano any more. 2) Cyrus' love interest
Will—played by her now-boyfriend Liam Hemsworth (quel
coincidence, Hollywood conspirators!)—works as a grease monkey,
volunteers at an aquarium, and casually busts out Tolstoy quotes. 3)
The two bond over a metaphorical nest of sea turtles, which Ronnie
desperately needs to save from a raccoon. Will wins Ronnie over
with this clincher: "You're not like the other girls."
4) But The Last Song is like the other movies. The rickety plot could
easily have been a '50s beach-bunny meets Brylcreemed-beach-boy
romance, but modern audiences could recognize this one in a taste
test, even without the label. It comes from the mind of romance
novelist Nicholas Sparks or, as I like to call it, the Not-So-Random
Plot Generator. All of the corny elements are here: the death of a
major character (no longer a spoiler when it comes to Sparks),
Romeo and Juliet-style obstacles (class strife, again), half-baked
infusions of Christianity, spring-loaded secrets, and picture-perfect
beachside real estate, the better for long walks on the beach at
sunset. It's a feel-good, feel=bad, feel-good formula varied here
mostly by the excuses for hunky Hemsworth to show skin (beach
volleyball and a mud fight that necessitates sexy hosing off for both
leads).
5) One of The Last Song's greatest sins is a criminal waste of Greg
Kinnear. Within the limitations put on him by the plot, Kinnear is
charming and heartfelt as Ronnie's divorced father Steve. Steve has
insisted on having Ronnie and her younger brother, Jonah (plucky
Bobby Coleman) stay at his supposedly ramshackle but actually
idyllic Savannah, Georgia beach house as a way of making up for
lost time. Jonah is overjoyed to spend time with his father (learning
the art of stained glass), but Ronnie is a petulant whelp. It takes a lot
of wearing down by the old and new men in her life to soften Ronnie
and allow her to experience a father's deep love and, with Will, the
first blush of romantic love. But when the worm of the plot turns and
matters become eye-rollingly familiar, we realize that Kinnear has
been wasting his time trying to make something from nothing.
In Theaters: Mar 31, 2010 Wide
US Box Office:$42.4M
Studio:Walt Disney Studios
Directed By: Julie Anne Robinson
Written By: Nicholas Sparks, Jeff Van Wie
Cast
6) Hemsworth holds his own, but Cyrus hasn't worked hard enough
to overcome the Disney curse of growing up in a bubble: like others
weaned on cable tweener sitcoms, she hasn't lived a normal enough
life to register as normal on screen (good thing Hannah Montana wa
was built to play on the crazy life of a celebrity); when she tries to be
real, she ends up blandly going through motions. Despite extolling
the virtues of love, family, and being true to oneself (yawn), The Last
Song proves to be just another lame exercise in yanking tweens'
charm bracelets. Maybe if we hadn't been instructed to remember A
Walk to Remember, The Last Song wouldn't seem so much like the
same old song.
A melodrama that's aimed at teen girls, but the cinematography and
performances make it palatable for others as well--if you don't mind
someone toying with your emotions.
It's funny, but in real life sometimes things happen out of the blue.
Writer Raymond Carver used to say "The phone is ringing.
Somebody's world will change," and things happen just so suddenly.
I myself received three such jarring phone calls in my life that came
as a total surprise and changed my life dramatically . . . and
traumatically. But in fiction we expect there to be clues, or else it's
something that comes out of left field, and how can anything that
lends itself to a sports analogy be artistic?
What I'm getting at, of course, is that there's a moment in "The Last
Song" when we get such a surprising turn of events. If it came closer
to the ending, it would be one of those O. Henry trick endings that
makes people turn up their noses disdainfully.
In retrospect, there were subtle clues that would have prepared me
for any of those life-changing phone calls. I just didn't see them. So
maybe it is a justifiable complaint that "The Last Song" really doesn't
do a proper-enough set-up--although, as my wife joked, when you
see Nicholas Sparks as the author and "The Last Song" as the title,
you know that somebody's going to die. Sparks is a writer who
deliberately goes for the literary equivalent of melodrama,
manipulating readers' emotions in order to give them a bittersweet
love story followed by a good cry and a final uplift. If he were born a
decade earlier than he was (he's 44), Sparks would have written
something like Love Story. As it is, he's written 16 books, six of which
have now been made into films: "Message in a Bottle" (1999), "A
Walk to Remember" (2002), "The Notebook" (2004), "Nights in
Rodanthe" (2008), "Dear John" (2010) and "The Last Song" (2010).
If "The Notebook" has received the most acclaim, "The Last Song"
has probably gotten the most scrutiny, and not because it's the first
theatrical feature directed by TV veteran Julie Anne Robinson
("Grey's Anatomy," "Weeds"). No, it's because of Miley Cyrus, who
has polarized viewers so much that she's like the Hillary Clinton of
actresses. Case in point: her performance in "Hannah Montana: The
Movie" earned a nomination for Breakthrough Performance Female
at the MTV Awards, but also snagged a Razzie nomination. Some
swear she has no talent and wouldn't acknowledge her fine
performances even if she won the Gracie Allen Award for
Outstanding Female Lead in a Children's/Adolescent's Comedy
Series for "Hannah Montana." Some people react negatively to the
whole idea of packaging, of Cyrus being Hannah Montana. They
want her to be Kate Winslet instead, but the reality is that Cyrus got
her start as a Disney commodity. And you can ask Hayley Mills how
long it takes to break that indentured bond.
As a comedian, Cyrus is amazing. In "Hanna Montana" she's Lucille
Ball reincarnate, with the same gifts of physical comedy, timing, and
reaction capability that made "I Love Lucy" such a fan favorite. As a
dramatic actress she's so far decent, but unspectacular. You believe
her much of the time, though Miley Cyrus is so big that it's like trying
to watch Henry Winkler play anyone else when Fonzie and "Happy
Days" were riding high. Cyrus plays a stand-offish teenage girl from
New York named Ronnie who, along with her eight-year-old brother
Jonah (Bobby Coleman), is taken by Mom (Kelly Preston) to spend
the summer with their father (Greg Kinnear), a composer who also
dabbles in stained glass. The boy is happy about it, especially since
Dad lives right on the ocean in a cool beach house, but Ronnie is
openly disdainful. Does she blame Dad for the break-up? Did she
really get in so much trouble back in New York (she stole something)
that she's truly a bad girl? Did she leave friends or a boyfriend
behind? Does she have a bug up her ass?
We don't know at the outset. All we know is that this script from
Sparks and co-screenwriter Jeff Van Wie gives us the quickest
turnaround for a delinquent since we saw tough guys dancing in
"West Side Story." Ronnie reads Tolstoy, she goes out of her way to
protect a nest of sea turtle eggs from marauding raccoons, and while
she goes out with bad teens late at night, she doesn't drink and she
fights off a guy's advances. She counsels a girl in a bad relationship,
and in this movie she does everything but help little old ladies across
the street. The performance is fine, actually, but the screenplay
would have us believe that this kid is somehow bad news, when we
can barely recognize a New Yorker in her.
Another problem is the rich boy (Sparks likes to throw together
would-be lovers from different sides of the tracks) she meets. So is
Will a scammer who will say and do anything to get a girl for the
summer, or does he have principles and standards? Or is he a bad
boy reformed? And what about the relationship he has with his
parents? One minute they're looking down on him and his poor girl,
and the next minute they turn up in a show of unexplained support.
There are other logic barriers as well. We're told that this kid Will is a
mechanic, but he's also a volunteer with the Aquarium. Well, excuse
me, but aquariums aren't the ones responsible for protecting turtle
nesting areas, and while we're at it, I'm guessing most aquariums
would have a policy against having their volunteers get into wet suits
with their dates and bringing them to the big shark tank for a swim.
The one attempt at mystery (Who burned down the church, and who
was dragged from it in the opening?) seems tacked-on. Likewise,
anyone who knows that whale sharks can only be found in the
Georgia Aquarium in Atlanta and knows that geographically it's
around 150 miles from the Atlantic coast, which would make it one
heck of a commute.
But the target audience--teenage girls--ought to go for this film,
precisely because it does give them that expected bittersweet love
affair and good cry over two relationship storylines that intersect. And
frankly, Cyrus and Kinnear have a nice father-daughter chemistry
going, while Hemsworth and Cyrus aren't bad together either. The
acting and the gorgeous Tybee Island, Georgia location filming make
this film marginally entertaining for people outside the target
audience as well. That is, if you don't mind having your emotions
manipulated.
Video:
"The Last Song" comes to Blu-ray with a gorgeous AVC/MPEG-4
transfer to a 50-gig disc, and I noticed no artifacts and no image
manipulation. The exterior scenes especially are a joy to behold, with
a nice amount of detail, solid black levels, and picture-perfect colors.
The film is presented in 2.35:1 widescreen and "enhanced" for 16x9
television monitors. This is a two-disc combo pack, and so a DVD is
included as well.
Audio:
The audio is a fairly dynamic English DTS-HD MA 5.1 (48kHz/24-bit)
that delivers respectable bass levels and enough ambient sound to
make the seaside come alive without the wind wiping out the
dialogue. There's a French language track as well, along with
subtitles in English SDH, French, and Spanish. On the featured
soundtrack there's a nice tonal purity that rivals the picture in overall
quality.
Extras:
Fans of the film will probably enjoy the never-before-seen alternate
opening (I won't give anything away here), as well as five deleted
scenes which develop relationships a bit more. Cyrus fans get a
music video ("When I Look at You") and a behind-the-scenes look at
making the music video that includes b-roll from the set, interviews
with Cyrus and the crew, and clips from the video. If you're into such
things there's also a "Set Tour with Bobby Coleman" in which the
eight year old takes fans on a seashell scavenger hunt and shows
them life on the set, including an intro to Cyrus's security team.
Finally, there's a full-length commentary with director Robinson and
her co-producer, Jennifer Gibgot, that covers all of the expected
bases.
Bottom Line:
"The Last Song" is a melodrama that's aimed at teen girls, but the
cinematography and performances make it palatable for others as
well--if you don't mind someone toying with your emotions.
b. With Miley Cyrus about to turn 18, the popette clearly feels it's time
to show she's all grown up, hence this romantic melodrama penned
by Nicholas Sparks.
While it's quite watchable, The Last Song doesn't feel like a film that's
been made so much as assembled from standard teen movie
clichés.
An efficient blend of parental conflict, summer romance and some of
those inevitable dressing-up montages, the filmmakers have taken
absolutely no risks. But when your leading lady's a $1billion-a-year
franchise, who can blame them?
Cyrus plays the moody Ronnie who, with her kid brother, reluctantly
goes to stay with her dad (Greg Kinnear), whom she hasn't spoken to
in years after her folks' messy divorce. A typical teen, she sulks
around his beachfront home reading Tolstoy, slamming doors, and
with her arms permanently folded over gothy clothes. Through the
summer, she tries to save some baby turtles and attract the
attentions of a hunky beach volleyball player.
It's not quite as overwrought as Sparks' last flick, Dear John, while
the supporting cast is pretty good. As for Cyrus, at least she has her
music career to fall back on.
c. Novelist Sparks turns screenwriter with this film, which combines
his usual themes (beaches, grieving teens, cancer) as a vehicle for
Cyrus to put her childhood career behind her. It's exactly what we
expect, but it's also fairly watchable.
The summer after her high school graduation, rebellious Ronnie
(Cyrus) and her precocious little brother Jonah (Coleman) are driven
by their mum (Preston) from New York to the Georgia coast to stay
with their estranged father (Kinnear). After sulking around in a huff,
Ronnie starts to soften a bit, befriending shirtless volleyball hunk Will
(Hemsworth). And as their romance grows, she starts warming up to
her dad as well. But dark rumours, Will's snobby parents (Vernon and
Searcy) and Ronnie's troubled friend Blaze (Chaikin) create various
problems, as does the dreaded C-word.
At the centre of the plot is the question of whether Ronnie will return
to playing the piano after seven years of moping. It's not terribly
difficult to guess, especially since we learn that she was such a child
prodigy that she's been accepted to Julliard without even auditioning.
Not to mention the fact that her dad is writing one last song for her to
play. As the weepy violins start surging on the soundtrack, you don't
even need to have seen another Sparks adaptation to know where
this is heading.
Although the character probably wasn't much of a stretch, Cyrus
gives a remarkably un-selfconscious performance as a young woman
who isn't always very likeable. In fact, she's so stroppy that we
wonder how Will puts up with her, so it's fortunate that Hemsworth
delivers such a one-note performance: a nice guy who falls madly in
love without really looking beneath the surface (beyond "you're not
like all the other girls").
This isn't necessarily Hemsworth's fault; the script and direction are
perfunctory at best, with a bland style that lacks much momentum,
although pre-teen girls won't notice with all the dreamy kissing, plus a
dress-up montage and even a wacky mud fight. For the rest of us, it
helps that Kinnear gives another lovely, transparent performance that
grounds the otherwise smiley-weepy tone in reality.
d. Watchable drama that never strays too far from the Nicholas
Sparks formula but succeeds thanks to likeable performances
from Miley Cyrus and Greg Kinnear.
What's it all about?
Directed by Julie Anne Robinson, The Last Song is based on the
novel by Nicholas 'The Notebook' Sparks (although the screenplay
was actually written first) and stars Miley Cyrus as rebellious New
York teenager Ronnie Miller, who's sent to the Georgia coast along
with her younger brother Jonah (Bobby Coleman) so they can to
spend the summer with their estranged father, Steve (Greg Kinnear).
It transpires that Ronnie has turned her back on her prodigious
musical talent (despite having been accepted to Julliard without even
auditioning) in order to spite Steve, but she soon begins to reconnect
with both her father and her passion for the piano as a result of a
tentative romance with shirtless volleyball player Will (Liam
Hemsworth).
The Good
The Last Song was fairly transparently conceived as a vehicle to
enable Miley Cyrus to move away from Hannah Montana and into
more grown-up roles. As such, it succeeds admirably. Cyrus delivers
an impressive performance that's surprisingly well-rounded, in that
Ronnie isn't exactly the world's easiest teenager to be around and is
just as stroppy and difficult as, well, a real teenager.
There's also strong support from Bobby Coleman (one of the better
child actors around) and the always-reliable Greg Kinnear, while
Liam Hemsworth fulfils the primary criteria of looking good with his
shirt off but also manages to generate some appealing chemistry
with Cyrus, even if both his character and the romance in general are
a little underwritten.
The Bad
It's fair to say that The Last Song doesn't stray too far from the tried-
and-tested Nicholas Sparks formula (picturesque locations, kisses on
beaches, local scandal, a terminal illness, etc.) and the film is entirely
predictable as a result but there's nothing wrong with cliches
providing they're marshalled effectively and director Julie Anne
Robinson does a good job of pushing all the required emotional
buttons.

Worth seeing?
Not as good as The Notebook but better than the recent Dear John,
The Last Song is an emotionally engaging drama that succeeds
thanks to strong performances from Miley Cyrus and Greg Kinnear.
Worth seeing if you like this sort of thing.
e. Damn you, Greg Kinnear, for making me cry over The Last Song. I
was terrified that people would think I was sobbing over TV director
Julie Anne Robinson’s tragedy-porn treatment of Nicholas Sparks’
cheap emotional manipulation [Amazon U.S.] [Amazon Canada]
[Amazon U.K.], when instead I was sobbing because you are just so
damn amazing as a sad dad trying to reconnect with his kids. How
you, as an actor, managed to endure being treated the same way as
your character is treated by his spoiled, self-centered brat of a
teenaged daughter, I don’t know. For this isn’t just a movie about a
brat of a teen (Miley Cyrus: Bolt) who thinks the world revolves
around her -- the movie itself appears to believe that the world
revolves around its tepid, tedious teen romance (with the bland and
beautiful Liam Hemsworth: Knowing), and it keeps scowling and
storming out -- just like Cyrus’s Ronnie! -- whenever something
genuinely interesting is about to happen. Why couldn’t the whole
movie be about dad Steve (Kinnear: Green Zone) and young Jonah
(Bobby Coleman [Post Grad], also amazing) and their relationship,
which is far more compelling? Oh, right: because neither of them are
Hannah Montana. Instead, we get a “romantic” mudfight and a cute-
dress-trying-on montage and a girl who’s special and deep and “not
like the other girls” merely because she reads Tolstoy and rescues
sea turtle eggs from raccoons on the beach. OMG movies are so
unfair!
Teenage superstar Miley Cyrus (“Hannah Montana”) and best-selling
author Nicholas Sparks (“Dear John,” “The Notebook” and “A Walk to
Remember”) make an unbeatable combination. Sparks wrote this
story about the rebellious outcast daughter of divorced parents with
Cyrus in mind.
Cyrus does not disappoint her fans and makes a smooth transition
from comedy to drama.
17-year-old Veronica “Ronnie” Miller (Cyrus) was mad and angry
when her parents, Steve and Kim (Greg Kinnear from “Little Miss
Sunshine” and Kelly Preston from “Jerry Maguire” and “For Love of
the Game”), divorced three years ago. She stopped playing the piano
and her grades in high school went down. She even ran afoul of the
law when arrested for shoplifting.
Her bitterness gets even worse when she and her younger brother
Jonah (Bobby Coleman from “Martian Child”) are forced to spend the
summer on Tybee Island, Ga., with their dad.
Various forms of love are at the center of this heart-tugging tearjerker
that deftly mixes humor and sadness.
Ronnie experiences first love with Will Blakelee (Australian
newcomer Liam Hemsworth), a tall and handsome hunk. They meet
when she spills her milkshake all over her shirt after a collision on the
beach while he is playing volleyball. They elicit oohs and ahs when
they share passionate, lingering kisses on screen.
Ronnie also learns forgiveness and reconnects through a mutual love
of music with her father. Her dad is busy creating an original classical
music composition and building a new stained glass window for the
church.
Ronnie is a vegetarian and doesn’t drink alcohol. She has been
accepted for the fall semester at Julliard. Her maternal instincts kick
in when she takes steps to protect sea turtle eggs from raccoon
predators.
This wholesome movie will strike a nerve in everyone who values the
true meaning of family. There was not a dry eye in the house at the
conclusion of an advance screening.
Although her hair appears unruly, Cyrus uses beautiful blue eyes,
shining white teeth and a big smile to win you over. She finds time to
put on a fashion show when shopping for dresses to wear to a
wedding. Her compelling character grows and matures over the
course of the movie as she experiences many life-altering events.
The real find here is the cute and enthusiastic Coleman. He is quite
impressive with all the best lines of dialogue. He deserves plaudits as
the acting newcomer of the year.
Parents will see themselves in the caring words and compassionate
actions of Kinnear’s character.
The movie keenly observes nature with the scenic backgrounds and
the wildlife inhabitants of this island paradise.
This is the 15th book from Sparks, but marks the first time he has
written the adapted screenplay for one of his own novels. Julie Ann
Robinson makes her feature film directorial debut after extensive
work in television including five episodes of “Grey’s Anatomy.” Most
fans of Cyrus know she is dating Hemsworth in real life after meeting
him on the set. “He’s my first serious boyfriend,” Cyrus says.
Cyrus shows a lot of talent playing the piano in the movie. She sings
along in the car while the radio is playing “She Will Be Loved”
performed by Maroon 5. The film’s signature tune, “When I Look At
You,” and “I Hope You Find It” are performed by Cyrus at the film’s
conclusion over the end credits.
The movie’s main drawback is that it compresses everything, leaving
no breathing room in its under two-hour running time. Those wishing
to spend more time with the characters are encouraged to read the
book.
f. “I did not come here for some stupid summer romance,” Miley
Cyrus croaks at the midway point of The Last Song, “with some
stupid local boy who’s done this a thousand times before.” Sister, I’ve
got at least three kinds of bad news for you. In the second Nicholas
Sparks adaptation in as many months (Dear John has the sole
distinction of knocking Avatar from its first-place perch), another
young lady finds herself on Georgia’s powdery beaches for the
summer, balancing a shirtless suitor with hackneyed class conflicts
and a passage to adulthood via untimely death. Luckily both the
audiences for Sparks’s corn pone weepers and Cyrus’s Liquid Drano
rasp don’t share her character’s distaste for cliché: whether they can
overlook The Last Song’s sucking charm and chemistry voids is on television and in film.
another story.
She plays Ronnie, a difficult alienated 17 year old who is sent with
Cyrus’s peculiar configuration of features and buttoned-on eyes are her younger brother Jonah - BOBBY COLEMAN - to spend the
better suited to Disney swag summer in Georgia with their father Steve - GREG KINNEAR - after
their parents' divorce a couple of years ago. It's the beach, it's
summer and Ronnie really doesn't fit in, she's not happy...
Cyrus plays Ronnie, a gothy mean girl annexed to her father’s
southern beach house — poor thing — with her little brother Jonah
Things start looking up when she connects with Will - LIAM
(Bobby Coleman) for the summer. Still freshly pumped about a
HEMSWORTH - a beach hunk who seems to have more going for
divorce that seems to have taken place years ago, Ronnie has given
him than first appears... they bond over a sea turtle's nest...
up playing the piano — a passion she shared with her father, played
by Greg Kinnear, and which got her admitted to Julliard sight unseen
This being a Nicholas Sparkes' project you know that there will be
— and lays down a napalm-like berth of bitchery wherever she
sentiment galore, a teary finale, romance and reconciliation. So no
treads. Any of the novelty in seeing Disney’s crowned princess
surprises here. But there are a couple of elements that add a bit of
tricked out in combat boots and blue nail polish is negated by the
ballast to this film. And I don't actually think it's MILEY CYRUS, her
absolute joylessness and lack of charisma Cyrus brings to the role.
character hasn't actually been made all that likeable, although she is
Truly unpleasant to watch and flatly bizarre to behold — Cyrus’s
quite acceptable as Ronnie.
peculiar configuration of features and buttoned-on eyes are better
suited to Disney swag — her forced scowls and swagger are only
The standout performance in this film is from young BOBBY
effectively repelled by the wonderful Kinnear, a known antidote to
COLEMAN, he is totally believable as Jonah. And I really like GREG
affectation. The rest simply wilt beside her.
KINNEAR in film and he's very good here. This is a first feature from
JULIE ANNE ROBINSON who has had an impressive career in
Perhaps hoping to distract from the inadequate performance at its television. The Georgia locations are also a plus. And the turtles are
center, director Julie Anne Robinson compounds the problem by cute.
loading the film up with subplots and superfluous characters that
Cyrus cannot negotiate, including a mysterious church fire that may
g. MILEY Cyrus dips her pretty toe in the world of grown-up drama
have been Kinnear’s fault, a vulnerable nest of sea turtle eggs, a new
with this formulaic weepie from the prolific Nicholas Sparks.
friend with a sketchy boyfriend, and that Coppertoned suitor named
Will, who comes complete with a couple tragedies of his own,
including a dead brother and a half-embalmed, rich-bitch mother. Teenager Ronnie (Cyrus) wears a permanent scowl during a summer
spent at the beach house of her estranged father Steve (Greg
Kinnear).
Played by Liam Hemsworth, Will is recognizable as the classic
hometown cutie and lays some pretty sweet sparkle on the
One compensation is the ridiculously handsome blue-eyed
belligerent Ronnie, but no amount of montage-powered frolic can
dreamboat Will (Liam Hemsworth) who becomes her new boyfriend.
solidify these two as a convincing couple. The supposed conflict that
emerges between them (Will has a reputation as a player; his
All carry hefty emotional baggage, secrets and tragic destinies
wealthy family look down on Ronnie) serves mostly to highlight the
guaranteed to provoke tears or the need for a sick bag.
contrivance of their bond and Cyrus’s impatience with the whole
process of becoming a movie star. Doesn’t she just have to show
The Georgia locations are handsome and the people are pretty but
up? And maybe bark the name of the character she’s talking to once
any resemblance to real life is purely coincidental.
a sentence?

Unable to work up a decent head of schmaltz between the central

couple, in the third act Sparks and co. (he co-wrote the script with
Jeff Van Wie) turn their ruthless eyes to the only character we’ve
managed to care about. It’s an almost breathtakingly calculated
move, a narrative Hail Mary that sends a hanky flying straight for
your face. It’s also pretty smooth stuff for such a lurching, teen-queen
vehicle; they may have held me down and wrenched them out of me,
but those tears fell like velvet.

The Last Song

Rated PG

Review by Margaret Pomeranz

THE LAST SONG emerged from Nicholas Sparkes being asked to

create a role for MILEY CYRUS as a launch pad for an acting career
that took her away from her popular character Hannah Montana both