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The Last Bus

The Last Bus

Drama · 2021

Widower Tom, on the recent passing of his wife Mary, uses his free bus pass to travel the length of Britain from John O'Groats in Caithness to Land's End in Cornwall, their shared birthplace, using only local buses. It's an incident-fuelled nostalgia trip and his encounters with local people make him a media phenomenon. Tom is totally unaware and to his surprise on arrival at Land’s End he’s greeted as a celebrity.

Movie details

The Last Bus

“Returning to the past, he found his future.”

2021 Drama 1h 28m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Widower Tom, on the recent passing of his wife Mary, uses his free bus pass to travel the length of Britain from John O'Groats in Caithness to Land's End in Cornwall, their shared birthplace, using only local buses. It's an incident-fuelled nostalgia trip and his encounters with local people make him a media phenomenon. Tom is totally unaware and to his surprise on arrival at Land’s End he’s greeted as a celebrity.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Last Bus?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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What Maisie Knew

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Names above the title

The people responsible.

Directed by

Gillies MacKinnon

Written by

Joe Ainsworth

Timothy Spall

Timothy Spall

Tom

Phyllis Logan

Phyllis Logan

Mary

Natalie Mitson

Natalie Mitson

Young Mary

B

Ben Ewing

Young Tom

P

Patricia Panther

Tracy

Saskia Ashdown

Saskia Ashdown

Imogen

Colin McCredie

Colin McCredie

Graham

Court is in session

Put The Last Bus on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.