Review: THE LAST TEMPTATION OF BECKY is More Nazi Bashing Goodness

If you’ve seen a Becky movie, you know the drill. Lulu Wilson slaughters Nazi scum led by a famous actor playing an out-of-character fascist mini-boss. Jenn Wexler’s third franchise entry, The Last Temptation of Becky, is no different—and that’s just dandy. Graphic Nazi killin’ is a gimmick that never goes out of style, as Wexler brings a bubblegum teen-girl vibe to match Wilson’s blossoming action star. You get what you paid for in this kick-ass continuation, even if the film’s Führer-fighting ambitions weren’t given the budget they deserve.

Wilson returns as CIA agent Becky Hooper, who works under Agent Montana (Kate Siegel). But after another mission where Becky can’t control her temper, Director Baker (Fiona Marr) lays down an ultimatum. Becky has one more opportunity to prove she’s CIA material: an espionage assignment in Poland to expose the plans of Third Reich royalty General Wilhelm Reuss (Neil Patrick Harris). All Becky has to do is collect information and report back, but when the rage-filled orphan learns what Reuss and his bigoted lil’ family are planning, she refuses to sit back and wait for reinforcements. Becky’s gonna do what she does best—make ‘em all corpses.

Forgivingly, The Last Temptation of Becky doesn’t waste time plopping its feisty lead into another kill-'em-all scenario. Wexler and co-writer Matt Angel understand our desire to see the Nazis on screen die horrible deaths, and do not deprive us of that glorious release. Everything’s even more on the nose; Reuss dons a Nazi officer’s wardrobe, lives with a Hitler standee in his foyer, and upholds the legacy of his Nazi-era relatives. Becky’s essentially transported back to World War II, which stops being coy and screams themes of Nazism hiding in plain sight through a microphone. We’re past Proud Boys staying somewhat incognito; Becky is killing straight-up Nazi soldiers in the year 2026, and the imagery is more prescient than ever.

Neil Patrick Harris as a Mein Kampf disciple is inspired casting; he sinks into the abominable role of General Wilhelm Reuss. Harris ditches his affable charms for a cold, ruthless tyrant who doesn’t wince when pulling a Luger’s trigger. James Urbaniak plays the more caricatured German stereotype, Dr. Friedrich Metzger, the mad scientist behind Reuss’ plans. Together, they orchestrate a vile brand of iron-eagle villainy that oozes hatred bred from decades of genocidal teachings that’s cosplaying as Hitler’s second coming—which Wexler mocks. Becky belittles her foes every chance she gets, while the film cheekily uses slurs, sauerkraut, and accents to satirize Ruess’ detestable clan of Nazi wannabes.

However, The Last Temptation of Becky did shock me in one regard: the usage of CG blood. Wexler and Angel script big ideas as they should; a second sequel should blow the original out of the water. The scope intensifies, yet the production feels restricted as digital effects level out much of the carnage. It’s hardly in line with Wexler’s gory punk-rock The Ranger or carnage-laced The Sacrifice Game, which is a bummer given her pedigree for practical brutality. That’s not to say all death scenes whiff—we get beheadings, body explosions, and other gooey fatalities—but the dependence on post-production bloodshed is noticeable. The same goes for an action sequence or two that isn’t as furious as teased, needing to cleverly shoot around choreography that’s manageable within lower-budget constraints.

But ultimately, you’re here for Becky. Few action franchises star grief-stricken young adults, and even fewer allow them to indulge in cartoonish violence. Wexler gives The Last Temptation of Becky a stronger Tiger Beat style, whether that’s Becky’s notebook doodles or dialogue with rebellious attitude, and lets Wilson embrace the coming-of-age nature of Becky’s maturation. Wilson’s sharp tongue and short fuse draw out the complications of a protagonist driven by revenge when she’s pointed toward the Naziest of evils, leaning into Becky’s unapologetic nature while letting her be her own brand of badass. It works to develop Becky a heat-seeking missile, while letting Wilson have fun with material that’s always a vehicle for Becky’s retribution.

The Last Temptation of Becky isn’t my favorite of the series, but that’s merely comparison games. It’s still a plucky yet punishing movie about dead Nazis which, at the end of the day, honors the franchise’s intentions. Limited resources are a problem, particularly when it comes to Nazi death scenes hindered by diminishing VFX, but Wexler delivers the catharsis these movies offer. If Wilson’s excited to keep playing the character, I’d gladly tune in for another. She’s having too much fun taking out the right-wing trash, as exhibited by yet another raucous Becky sequel.

Movie Score: 3/5