Weir's occultism isn't even faintly erotic, and except for the first sequence The Last Wave is over-deliberate; the camera movements are ominous as if by habit.
Visually, the film is active until the first shot of [David Burton], a Sydney corporation lawyer. Every time he appears, the camera seems to hold on him—and the film croaks out. (p. 533)
Weir provides apparitions holding sacred stones, frog noises in the night, shadows in slow motion, and the kind of haunted-house acting that many of us have a certain affection for—the actors' sense of hopelessness is so disarming as they deliver a line and then try to find a suitable expression to go with it. But The Last...
(The entire section is 492 words.)