Jarman mars his brilliance by making his almost wordless film often unwatchable and the message unintelligible.

The film's chief virtue lies, surprisingly enough, in its technological proficiency rather than in its cumulative power. You get the film that it is much more a personal than a political film.

Made on Super 8 and blown up as a fuzzy dream allegory, The Last of England is as interesting as anyone else’s home movies.

It's an intensely visual film... explicitly queer, and, well, let's just say the film's progress does not rely too heavily on plot.