There’s a certain kind of film some audiences insist Hollywood has forgotten how to make—and The Last Rodeo feels like a deliberate attempt to prove otherwise. Directed by Jon Avnet (Fried Green Tomatoes), this heartwarming and decidedly old-school drama blends redemption, faith and family into a story that feels both familiar and designed to make you feel all fuzzy inside. While the film doesn’t stray far from the well-trodden path, its sincerity and emotional core manage to give it enough weight to stay standing in the saddle.
Neal McDonough—typically cast as the hard-nosed villain—takes centre stage as Joe Wainwright, a former rodeo champion who left the sport after a drunken misstep led to a serious injury. Still grieving the loss of his wife, Joe has been cared for by his daughter Sally (Sarah Jones), who put her own dreams on hold to keep the family afloat. Her young son, Cody (Graham Harvey), prefers baseball to bucking broncos—until a tragic twist changes everything.
After a blow to the head during a Little League game, Cody is diagnosed with a brain tumour. With no financial safety net to cover the growing medical bills, Joe finds a singular solution: re-enter the rodeo arena. A million-dollar prize at the Legends Rodeo is up for grabs, and Joe believes he can claim it—despite age, injury, and just about everyone telling him otherwise.
The premise may strain believability, but The Last Rodeo is more interested in hope and heart than in strict realism. McDonough brings a grounded, physical performance to the role, exuding both rugged determination and quiet vulnerability. His portrayal helps sell a story that otherwise could have felt like pure melodrama.
Supporting performances are solid across the board. Mykelti Williamson strikes just the right tone as Charlie, Joe’s God-fearing former riding partner who reluctantly agrees to coach him. Christopher McDonald adds a dash of charisma as the image-obsessed rodeo promoter, and real-life PBR champion Daylon Ray Harrington lends authenticity as Joe’s smirking young rival.
The bull-riding sequences are functional rather than thrilling, with visible reliance on stunt doubles. But what the film lacks in visceral action, it makes up for in emotional resonance. The script wisely resists the urge to offer a miracle cure, instead embracing a more grounded—and arguably more powerful—resolution.
Although faith is a consistent thread, the film avoids being overly preachy. Religious elements are present but restrained, allowing the message of perseverance and familial love to shine through without alienating viewers outside the faith-based market.
The Last Rodeo doesn’t reinvent the wheel, but it doesn’t need to. It’s a heartfelt tale about second chances and enduring love, delivered with genuine care and conviction. With its blend of old-fashioned values, emotional sincerity, and a quietly compelling lead performance from Neal McDonough, this is a modest but moving entry in the faith-based drama genre—and a reminder that sometimes the simplest stories are the ones that stick.
