Snow, Fugitives and Conspiracy: Why "The Last Frontier" Just Might Work
- Dan Brooks
- 14 minutes ago
- 3 min read
A U.S. Marshal stationed in the wild outskirts of Alaska (Frank Remnick) is thrown into high gear when a prison-transport plane crashes, releasing dozens of dangerous inmates into the freezing wilderness. He must not only hunt them down, but grapple with the suspicion that the crash may have been more than an accident, and that a far deeper conspiracy (involving CIA assets, old ops, and bad faith) is at play. Meanwhile the Marshal’s family and the community are pulled into the chaos, making the remote Alaskan setting as much a character as the fugitives.
Alright folks - sit down, buckle up, and yes, I'm going to try to keep this short enough so you don’t drift off to scroll TikTok. I just started watching The Last Frontier, and here’s the deal: it’s wild, it’s rugged, it’s got enough snow and fugitives to make you question your next holiday to Alaska (or Canada pretending to be Alaska).
If you ever thought, “Gee, what if Con Air crashed into Northern Exposure, then sprouted subplots like mushrooms after rain,” then this might be your gig. The premise drops you right into the chaos: a prison-transport plane goes down in the frozen nowhere, fugitives everywhere, and one U.S. Marshal (Frank Remnick) trying not to freeze, not to lose his mind, and not to get eaten by a bear. I mean - metaphorical or literal. Either works.
What works: The beginning hits like an ice-cold punch. No “let’s establish the sociology of small-town Alaska” first half hour. Nope. Crash. Escape. Mayhem. Good. I appreciated that because life’s too short to wait for the slow burn. It feels like the creators said “how many bad guys can we fit in one wild terrain scenario?” and then invited the CIA to the party. The actor roster helps: you know Jason Clarke is going to bring the muscle (and a face you trust not to just do a cameo golfing in the woods). Dominic Cooper as the villainous Havlock (yes he’s got a name that sounds like an old English castle) brings enough charm and menace that you’ll wonder if you should root for him a bit - until he does something nasty and you’re glad you’re on Remnick’s side.
And don’t get me started on the scenery. The show may say Alaska, but what it really says is “Canada yet again standing in for something more remote and wild,” and you know what? I didn’t mind. The snow-swept landscapes, the isolated cabins, the frozen lakes—they add grit, texture, almost character. The whole show feels like the snow itself is an adversary. Which is a bonus, because winter in Canada is long enough; might as well dramatize it.
The throwback vibe is fun too: it’s got that cop-drama / crisis-manhunt feel from the 80s/90s, layered with modern espionage. You’ll recognize tropes (the reluctant hero, the rogue asset, the small-town folks caught in big-government games) but it’s packaged so you can nod, go “yes I know this one,” and still lean in for the next twist.
What doesn’t quite gel: But - and you knew there was a but - I felt the show at times stitched on-top a little too much. Like someone said “let’s add a family drama subplot,” and someone else chimed “oh yes and let’s add local deputy complexities,” and bam, suddenly you’ve got more strands than a tangled fishing net. Some of the setups are obvious: you’ll spot the mole, the betrayal, the hidden agenda before they make it obvious. That’s not the worst thing in the world, but when you’re promising “thriller plus mystery,” you want less “I sensed that in minute 5” and more “holy crap did not see that coming.” Also, in trying to serve the large canvas (government conspiracies, rural communities, fugitives, marshals, family grief) occasionally the tone shifts: a drama moment, a thriller moment, a procedural moment. Just once I wondered if they said, “hey let’s also make this accessible to folks who like detective shows, spy shows, and small-town dramas,” and maybe lost a little of the focus.
Bottom line: If you’re in the mood for something with snow, action, fugitives, governmental intrigue, and decent performances, this one is a win. Just don’t expect Eastwood-level minimalism or super-deep existentialism. It’s popcorn with snow boots.
Given all of that, I’m giving The Last Frontier a solid 7.0 / 10.
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