Danny Huston’s CV runs from cigar-chewing villain in the first Wolverine spin-off to his outstanding performance in Bernard Rose’s Ivans Xtc. He’s hardly a prolific director, but his work in front of and behind the camera in The Last Photograph is impeccable. What’s near criminal here is that aside from a handful of festival screenings, his 2017 film The Last Photograph is pretty much invisible; there’s no user reviews on imdb, and not even a single-line Wikipedia entry for it. Perhaps there are reasons, but it’s not any reflection on the film-making. Huston plays Tom Hammond, a book-shop owner struggling to forget the death of his son, one of many casualties of the terrorist attack on Pan Am flight 103 over Lockerbie, Scotland in 1998. When a book is stolen from his shop, containing a photograph that connects Hammond to his son, it awakens memories of the night in question, and a search for justice that’s been suspended. Huston is immense in this role, angry, grieving, but without an outlet; as a director, he’s sensitive to the portrayal of a complex, nuanced character. The real-life tragedy referenced here is well-handled, with newsreel footage mixed with the film’s narrative in a non-exploitative way. The subject of The Last Photograph appears taboo; few dramas have explored Lockerbie, and perhaps that’s why The Last Photograph appears to have been obliterated by market forces; this is the kind of film that deserves a second wind through streaming services, and it’s a shame that it’s so hard to locate. Maybe Huston’s pay the rent job in –yikes- the unanticipated Angel Has Fallen will cash him up for self-distribution and get this worthwhile film out there.