Excellent

Rating: 8/10 (21 July 2007)

Given Africa's recent history, it's all but inevitable that a movie about the continent will venture into grim territory, and when it explores the regime of one of its worst dictators an unpleasant viewing experience becomes a certainty. However, its decidedly dark subject matter doesn't prevent The Last King of Scotland from being one of the best and most intriguing films of 2006. Told from the perspective of Nick Garrigan, a young Scottish doctor who comes to Uganda to find some adventure and make a difference and ends up becoming Idi Amin's personal physician, The Last King of Scotland is partly about Amin himself, partly about the struggles of post-colonial Africa, and partly about what happens when youthful idealism encounters harsh reality. Much like The Pianist and Hotel Rwanda, it's a horror movie of sorts, albeit one focused squarely on the horror of real events (yes, I know this is a fictionalization, but Idi Amin and his crimes were certainly real enough). Under Kevin MacDonald's generally matter-of-fact direction, the film's imagery is frequently unsettling and occasionally shocking in its depictions of gruesome violence and general depravity, but it's more notable for the mounting sense of dread it conjures as the depth of Amin's barbarity becomes ever more pronounced.
As countless others have pointed out by now, the film's portrayal of the Ugandan president is aided greatly by Forest Whitaker's incredible, absorbing performance as Amin. Anyone who witnessed Whitaker's extended guest run on The Shield knows what an imposing and powerful actor he is, and his explosiveness and gift for unconventional rhythms are put to good use here. Whitaker's schizophrenic performance manages to turn Amin into an examplar for the banality of evil, a complex character who can be funny, charming, and philosophical even as his paranoia and ruthlessness escalate. James McAvoy naturally gets overshadowed somewhat by Whitaker's commanding presence, but he's certainly more than competent as Nick, the comsumnate young idealist who quickly finds himself in over his head in every sense imaginable. Nick is a fundamentally decent guy, but whether intentionally or not his naivete is frequently self-serving as he finds himself enjoying his cushy position in spite of the moral concerns his employer's actions raise.
Overall, the movie's plot arc and pacing were a bit conventional for my tastes, but the central performances and moral complexity were more than enough to carry the movie through. Hell, just seeing Whitaker relentlessly chew the scenery for every second he appears in makes it worth one watch. As cautionary tales about the corrupting power of privilege go, this one is definitely more compelling than most.