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The Last Heroes
Movie

The Last Heroes

2018 • Unknown

Woke Score
3
out of 10

Plot

With enemy attacks looming, a group of villagers begins training for war to defend their homeland -- but becoming warriors brings humor and hardship.

Overall Series Review

The Last Heroes (Tood Too Koo Chard) is a Thai historical comedy focusing on a group of humble villagers, including several transvestites, who rally to defend their homeland during a time of war against the Burmese army. The narrative is driven by classic patriotic themes, where ordinary people step up to perform an act of great sacrifice for their community and nation. The central conflict is an unambiguous defense of home culture, which strongly counters any notion of civilizational self-hatred. While the film is a comedy, relying on bumbling antics and the absurdity of inexperienced men training for war, the ultimate theme is one of bravery and profound heroism. The presence of transvestite characters is integral to the story, serving both as a source of comedy and a unique element of the heroic team, which elevates the score in the LGBTQ+ category. Religious elements, such as a helpful Buddhist monk, are depicted positively as a source of aid. The film contains no commentary on Western identity politics or vilification of whiteness due to its entirely Asian historical context.

Categorical Breakdown

Identity Politics2/10

The narrative's focus is on local Thai villagers fighting the Burmese army in a historical context, centering on shared national destiny rather than racial or intersectional hierarchy. The cast is authentically Thai, and there is no vilification of 'whiteness' or forced diversity, as the context is not Western. Characters are judged by their willingness to fight and sacrifice, which aligns with meritocracy.

Oikophobia1/10

The entire plot revolves around a group of villagers training for war to defend their 'homeland' and 'nation' against an external enemy. The characters ultimately die like heroes in the defense of their village and country. This is a clear expression of gratitude and defense of core institutions against chaos, directly opposing civilizational self-hatred.

Feminism3/10

The core heroic group is male/transvestite, but the comedy stems from their incompetence and 'bumbling antics' while training to be 'warriors.' The narrative's male characters are initially weak but ultimately achieve a protective, heroic end. There is no explicit 'Girl Boss' or anti-natal messaging.

LGBTQ+7/10

The film prominently features a group of transvestite (ตุ๊ด) characters as part of the core heroic team, a common trope in the director’s work. The plot uses this identity centrally for both comedy and heroism, including a scene where the heroes disguise themselves in ladies' clothes. This places a non-normative sexual/gender identity in a highly visible and essential role, giving it a high score in the Queer Theory lens, though it operates within a distinct Thai cultural comedy tradition, not a Western gender ideology lecture.

Anti-Theism1/10

The story includes a Thai monk held captive in the Burmese king's palace who aids the heroes in their escape. The religious figure is portrayed positively as a source of assistance and part of the noble, righteous cause. This portrayal of faith is a source of strength and acknowledges a higher moral good in defending the country.