Review of Last Days: Justin Lin’s Adaptation of a Missionary Tragedy Exploring Faith and Justice

Occasionally, real-life tragedies unfold on screen, prompting us to reflect on the events that transpired. Amidst recent discussions related to Christianity, Fast & Furious director Justin Lin transitions back to independent filmmaking, presenting a gripping narrative on a missionary’s ill-fated journey. This story gained attention in late 2018 when American evangelical Christian missionary John Allen Chau’s adventurous visit to North Sentinel Island ended in tragedy, ultimately leading to his death. The film Last Days serves as a poignant, if troubling, exploration of this avoidable disaster.

Sky Yang portrays John Chau over a span of four years, beginning with a portrayal of a frail high school student grappling with his future. Chau is resolute in his desire to fulfill what he perceives as his life’s mission—to spread Christianity. Conversely, his father (played by Ken Leung) wishes for him to pursue a medical career instead. Despite knowing the inevitable conclusion of Chau’s journey, the discernible discrepancies in his decision-making bring forth questions about the authenticity of the script.

Analyzing the Choices in Last Days: A Character Study

It’s unclear whether Lin aims to illuminate the motivations behind Chau’s commitment to the Sentinelese or to highlight the hazards of missionary endeavors. Unfortunately, Last Days struggles to effectively accomplish either goal. While some conversations within the film touch on themes of religious grooming, the narrative fails to explore these discussions with the necessary depth. This lack of exploration leaves viewers with an inadequate understanding of Chau’s fervor and beliefs.

There appears to be a disconnect between character development and narrative progression, leading to a viewing experience fraught with frustration. The film hints at revealing Jonathan’s psyche and experiences to explain his motivations, but the depiction remains largely superficial. Notably, his storyline shifts when he abandons medical school, a plot point that feels inconsistent with earlier character establishment.

The film picks up momentum about a third of the way through as it acknowledges the inherent complexity of Chau’s decisions. Upon reaching a missionary training camp, the tone shifts to that of an adventure. However, this transformation feels disconcerting, almost glamorizing the path Chau chose, despite knowing the tragic outcome that awaits him.

Grappling with the Narrative: Lin’s Ambiguity

As the film progresses, it raises intriguing inquiries about Chau’s motivations. Is his mission genuinely about salvaging souls for Jesus, or does it stem from a desire for personal significance? The film leans toward the latter, portraying Chau as a lost individual. This interpretation falls short since it doesn’t consider that John cannot defend or express his own narrative, leaving his diary entries—a testament to his strong faith—underrepresented.

That said, Last Days is not without merit. Oliver Bokelberg’s cinematography offers breathtaking visuals, setting a serene backdrop before the impending tragedy unfolds. The film’s sweeping landscapes provide a sense of grandeur. Conversely, Nathan Alexander’s score, while technically impressive, often clashes with the narrative, utilizing uplifting melodies during moments of doubt—creating an atmosphere that borders on ironic mockery.

Ultimately, Last Days falls short in elucidating the essence of John Allen Chau, undermining its potential impact. While Lin may not have intended to convey a specific message, his hesitant handling of the complex nature of missionary work diminishes the film’s effectiveness. The tragic end of Chau’s life, filled with promise, is overshadowed by a storytelling structure that fails to connect meaningfully with its protagonist, leaving audiences at a distance from the very heart of this story.

Last Days premiered at the 2025 Sundance Film Festival.

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