30-year-old Dan (Michael Izquierdo) has remained in an isolated cabin with his new girlfriend (Heather Lind) in upstate New York after experiencing something that led to him being a paraplegic. The exact cause of his paralysis does not rise to the surface until later in the third act. Until then, Dan's friends arrive out of the blue for an intervention of sorts. Among those friends is his ex-girlfriend, Phoebe (Vanessa Ray), whom he had once expected to marry.

      The Last Day of August would have probably worked better as a short or perhaps even as a short play. The intervention that Dan's friends initiate goes on for a while and much of it tediously drags while you wait too long for the final revelation about why Dan has become paraplegic. That mystery provides a modicum of tension in the beginning of the intervention, but that tension soon wanes as patience runs out concurrently. The screenplay by writer/director Craif DiFolco and co-writer Sara Rempe does feel organic for the most part although, admittedly, the withholding of key moments from Dan's past comes across as gimmicky by the time the end credits roll. Conflicts between Dan and his old flame don't add enough in terms of dramatic tension or intrigue.

      What holds the film somewhat together, then, you ask? That would be the very raw, natural performances by the ensemble cast each of whom is believable in their respective roles without hamming their performances in. The film's pace does move slowly, and there's a lot of talking going on with emphasis on character over plot development which gives the film a European sensibility, but that feat alone doesn't necessarily imply that it's engaging or intriguing. It's also worth noting how refreshing it feels to watch a cabin-in-the-woods story where no one gets killed.

      Niklas (Ken Duken), a German business executive, travels to New York City for one day to close down a NYC office of a financial firm. He meets an aspiring singer-songwriter, Leticia (Nicole Beharie). Sparks fly between the two of them and they fall in love with each other. Sound like your typical boy-meets-girl romance? Think again. Leticia happens to have been let go from her day job at the office that Niklas shut down, but when Niklas discovers that, he decides not to disclose that key information to her. Leticia's father, Pastor Johnson (Reg E. Cathey) deals with his own issues, namely, struggling to move on after the death of his wife, and being unsure of whether or not to romance Luz (Marlene Forte). Will Niklas' secret remain hidden from Leticia? Will Leticia forgive him if she finds out the truth? Will Pastor Johnson yield to the temptations of a new romance?

      The answers to those questions above won't be spoiled here, but it's worth noting that writer/director Stefan C. Schaefer and Christoph Silber do a great job of maintain some suspense and including a few surprises that enliven the proceedings along the way. It's quite refreshing to watch a romance unfold that's interracial and intercultural because that goes to show you that love is blind. Schaefer and Silber wisely avoid stereotype and caricature, and find just the right balance between light and dark elements without going over-the-top in either direction (there no corny scenes here that will make you roll your eyes). Niklas seems very much like a jerk at first, but he's a complex, flawed human being after all and has some redeeming qualities that make him become increasingly likable; only simple-minded audience members will see him as a total jerk. The real heart and soul of the film, though, is Nicole Beharie who's absolutely radiant here---even more radiant than she was in 42 and American Violet. Her interactions with her father later the second act are quite endearing without veering into melodramatic territory. To top it all off, she has a beautiful singing voice during the few scenes that require her to use that talent of hers, especially the final scene which will bring tears to your eyes.

      Forget about all those loud, CGI-infested films plaguing our cinemas these days---there's nothing really "special" about those so-called "special effects" anymore. My Last Day Without You, on the other hand, has the true kind of special effects that many Hollywood films lack these days: warmth, depth and a soul.

      The instant that Maddie (Breann Johnson), a married woman, meets an orphaned 9-year-old boy, Francis Riley (Austin Harrod), she feels need to take care of him which she does despite that her mother-in-law (Frances Fisher) disapproves of bringing him into their countryside home. He becomes a part of Maddie's family, but as soon as he reaches adulthood, Francis (now played by Glen Powell), gets kicked out of Maddie's home because her husband, Carl (Luke Perry), suspects that he and Maddie have gotten too close as if they were a romantic couple. Francis starts afresh by accepting job on the ranch of Jim Varett (Bill Paxton). No matter how hard he tries to fit into his new home on the ranch, he never quite feels the same way he did while living with Maddie, the true love of his life.

      Based on the novel "The Country Waif" by George Sands, Red Wing is a sweeping love story that tugs at your heartstrings from start to finish. From the moment you meet Francis as a young boy, you'll find yourself caring about him and rooting for him to be happy, a task that's easier said than done. To attain that true love and happiness, he goes through many experiences that test both mentally and spiritually. His courage and kindheartedness remains intact no matter what. The love between Maddie and Francis is genuine, pure and profound, so when Francis experiences an epiphany about how he feels about her and makes a sacrifice, you sense that he's making the right decision. Kudos to casting directors Katrina Cook and Sara Wallace for choosing Glen Powell to play Francis. He's just the right actor to sink his teeth into the role of Francis believably---he's got looks and charisma to boot. Breann Johnson is also well-cast and gives a genuinely moving performance in the complex role of Maddie. Moreover, it's great to see Luke Perry convincingly tackle the dramatic role of Maddie's husband.

      Director Will Wallace makes the most out of the picturesque scenery and brings out its beauty and purity that, in a way, reflects the purity of Francis' love toward Maddie. The soundtrack is also quite exceptional and adds a layer of richness to the film. Screenwriter Kathleen Orillion brings the novel to life in a way that's engaging and genuinely heartfelt. Some of the material does tap into dark territory, but she keeps it on a lighter note, so the film never feels too heavy or exhausting. To be fair, if Red Wing were darker, it wouldn't be as family-friendly and would have felt disjointed from its uplifting messages about the value of compassion and the importance of following your feet to the beat of your heart.