The Last Great Wilderness (2002)

Watched it knowing very little about it, ended up extremely pleased! Merging many genre's in the process, this film isn't for everyone, butshows the mainstream how its done! Shows the beauty of the low budget films focus on mood, aesthetics and acting to ensure full engagement. The charm of the Scottish landscapes also adds a delicious, raw edge. On top of superb performances all round, very likable characters and the mystique element of the narrative that builds up, creates a fairly original vibe. Very interesting film for those interested in the more rewarding realms of British cinema. Also features The Pastels which just adds that extra sweetness

I bought an ex-rental copy of this as an impulse buy after reading about the soundtrack, which features several indie favourites (Pastels, Eugene Kelly, Jarvis Cocker, etc.), and having expected just a bit of fun - "Straw Dogs meets The Wicker Man", as it said on the case - I was very pleasantly surprised. In many ways it acts as the antithesis of both those films; at first it seems like a surefire Wicker Man ripoff, before defying all expectations, and rather than take Straw Dogs' hoary "you must take up arms and taste blood to be a real man" shtick, it offers quite the opposite.Is it a scary film? Not really, and if that's what you're expecting, as "Donald Darko" was, then you'll be disappointed. Rather it's a unique, atmospheric film full of new ideas concerning gender and sexuality, as Charlie begins his journey from a cuckolded man desperate to violently reassert his masculinity to discovering a new way of doing so when he gets into the lodge. Admittedly, I had just read Carol Clover's "Men, Women & Chainsaws" when I first saw this, so all the symbolism as regards castration anxiety seemed quiet obvious, but this is a film that stands up to repeated viewings and offers new insights every time you see it. I'm not going to pretend I understand all of it yet - Vincente's arc still eludes me - but this is one of the reasons to keep coming back to it.Again, if you're expecting "Dog Soldiers", this film isn't for you. But in short, what is right about it: cracking dialogue; beautiful DV photography by Simon Dennis; one of the most tender, erotic love scenes in years; the butterfly symbolism; ace performances; a lovely soundtrack... oh hell, you get the idea. Ignore Philip French's snotty review - this is great modern, refreshing low-budget British film-making, and if there's any justice in the world, it will find its audience in time.Conclusion - rather than being a predictable, violent thrill-ride, TLGW is possibly the most intelligent, subtextually rich British horror film since Don't Look Now. Seek it out now!

I don't want to say this is a bad film because I think I was expecting too much from it. A couple of reviews had lead me to believe it was similar to 28 Days Later and Dog Soldiers (Both of which I really enjoyed).The film began well enough and I think it is an interesting idea. However, by the closing credits I was left underwhelmed, disapointed and most importantly confused.Maybe there was some signifigance to the ending but if there was, I sure didn't get it.Despite this, I would say it is definatley a film worth watching.

Saw this movie this evening as part of the local film festival - really thought it was great. The script was really rather unpredictable, and very funny. Casting, acting, writing, etc all came together to make it a great film.The Wicker Man comes up often with this film, deservedly so - not that it is in any way a rip off, quite original actually - it's just the vibe you get. It was really interesting to be so completely outside the people in the retreat when Charlie and Vince arrive - it was so difficult to tell what was going on, and the audience kind of gets to figure it out with the main characters - a neat device. I was thrown off a bit by Vince's last scene in the film - it did not seem to fit with the pace of the movie. I'm glad that it made it out of Scotland. so the rest of us can see it!!