Viewer Rating
Combines user and critic ratings from four sources
Now that Ivan is about to turn 21, he is now grown up and finally old enough to marry the beautiful Vasilisa. But when Vasilisa is kidnapped and trapped in modern Moscow, Ivan and his friends must travel to the present d...
Now that Ivan is about to turn 21, he is now grown up and finally old enough to marry the beautiful Vasilisa. But when Vasilisa is kidnapped and trapped in modern Moscow, Ivan and his friends must travel to the present d...
The film receives a neutral rating as its central narrative revolves around universal fantasy tropes of a hero's journey, good versus evil, and destiny, without explicitly promoting or critiquing specific political ideologies. Its focus on folklore and individual heroism remains within an apolitical, archetypal framework.
The movie adheres to traditional casting for its characters, who are drawn from Russian folklore, without incorporating explicit race or gender swaps. Its narrative primarily focuses on adventure and fantasy elements, maintaining a neutral or positive framing of traditional identities rather than offering a critique.
The film features Vasilisa, a skilled warrior, who engages in and wins close-quarters physical fights against multiple male dark warriors using a sword and martial arts during the defense of Belogorie.
No identifiable LGBTQ+ characters or themes are present in "The Last Warrior: A Messenger of Darkness." The film, a Russian fantasy comedy, focuses on traditional folklore narratives without incorporating queer identities or storylines.
The film adapts characters from Russian folklore, such as Ivan, Baba Yaga, and Koschei. All major characters maintain their established genders from the source material and previous installments in the series. No canonical or historically male or female character is portrayed as a different gender.
This film is a Russian fantasy based on Slavic folklore. The main characters, such as Ivan, Baba Yaga, and Koschei, are portrayed by actors whose race aligns with the traditional depictions of these figures in Russian culture and source material. No instances of a race swap were identified.
Combines user and critic ratings from four sources