89% (critics), 57% (audience) Metacritic: 68/100
The station’s layout traps Jessica. Every hallway doubles back. The evidence room becomes a tomb. The dispatch radio, her only link to the outside, emits only static or taunting voices. By stripping the setting of any “safe room,” DiBlasi ensures that the protagonist — and the viewer — can never recalibrate their sense of security. Jessica is the youngest officer, a woman alone in a system that has abandoned her. Her superior, Officer Price, exists almost entirely as a voice on the phone — disembodied, reassuring, but ultimately absent. When Jessica finally meets “Price” in the flesh, he is revealed to be a ghost of a previous victim, looping her deeper into the trap. This twist is crucial: authority figures in Last Shift are either useless or malevolent. last shift movie wiki
The cult leader, Paymon, represents the toxic culmination of patriarchal charisma. He is never shown fully until the final act; instead, his presence is felt through the women he murdered, who appear as crying, bleeding specters begging for help. These women are not just victims but agents of the haunting — they lure Jessica toward Paymon. In this sense, Last Shift critiques how systems (the police, the family, the cult) enable abusers by leaving their spaces physically intact and psychologically unexamined. A key theme is the failure of training. Jessica recites protocol, checks her weapon, and attempts to rationalize each apparition as a stress-induced hallucination. But the film denies her — and us — any definitive answer. Is she being supernaturally attacked, or is she suffering a psychotic break induced by isolation and inherited trauma? The script’s genius is that it supports both readings. Paymon claims he “is in her head,” and by the end, Jessica is seen wearing a cultist’s robe, implying she has been absorbed into Paymon’s reality. The dispatch radio, her only link to the