The opening sets the tone perfectly: Heston cruising empty streets; timed long shots capturing and silently translating into imagery the way he feels; showing him as a small, solitary cog in a great, abandoned machine.
The way it drip-feeds information to the viewer is complemented by the benefits and harrowing realities of being the last man.
Rosalind Cash adds a beneficial 70s Harlem-culture sass to the overpowering, white, militaristic attitude that the gun-happy Heston exudes.
The enemy is more dangerous this time because it can rationalise its own situation, forcing us to ask the question: when the diseased outnumber the healthy, who should be counted as outcast?
4 cleansings out of 5
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