‘The Last of Us’ is a video game adaptation worth watching, thanks to stellar performances by Pedro Pascal and Bella Ramsey.
are cannily staged, both poignant and dreadful, they eventually coalesce into something glumly familiar; we feel the same howling desolation, flecked with glimmers of ragged life, that we’ve felt before.
Still, it is worth pointing out the many merits of the series. There is a particularly affecting interlude in which a stoic survivalist played byMurray Bartlett . These two doomed lovers dart through the series, only occupying one episode, but they resonate. Not only because it is rare to see a gay love story in a butch series like this one, but because it exists almost entirely outside of the show’s violence. It is instead a small tale of peaceful isolation, one in warped dialogue with many of our own experiences of the last few years.
Later on, an episode introduces us to a preacher who initially appears refreshingly compassionate, and then very much does not. That hour is the show in full spine-tingling horror mode—for the most part, the series is a thriller-drama in which the scares are either lurking in the past or implicitly close by, out of frame. A steely character played, against type, byeffectively communicates a whole saga of past conflict while further delineating the show’s complex moral shading.
The tension between means and ends culminates, of course, with Joel and Ellie. The series ends on the same note of bleak disquiet—a terrible, and perhaps completely unjustified, sacrifice made—that closed out the video game. Perhaps because that ending is already so iconic, or perhaps because the series feels curiously hurried in its pacing, it doesn’t land with the same grand, despondent ambiguity as it did in 2013. Or, maybe, we just expect such textured pathos from filmed entertainment.
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