Like Micheal Cimino’s Heaven’s Gate, critics have attacked and mocked the excessive ways of Dennis Hopper’s The Last Movie. Rather than focus on the film – the imagery, characterizations and experimental structure – they honed in on the sensational stories of orgies and cocaine consumption because that’s what sells. The truth is, while Hopper’s film may be flawed, it is seminal – directionless, faded and disturbing. Under the tutelage of Chilean director Alejandro Jodorowsky, Hopper constructed an experimental narrative – including a title card flashing missing scene as if we are watching a rush – continually reminding the viewer of what this is – just a film.While it’s not earth-shattering genius, neither was Easy Rider nor even Midnight Cowboy or Apocalypse Now for that matter, but it’s genuine and a far cry from the processed images of today, all seemingly rendered from a rendering of a rendering. Personal and real, The Last Movie itself will be rendered soon enough. “Love is everywhere.”