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The Last Bus Home (1997)

 |  Drama  |  18 March 1998 (France)
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Ratings: 5.1/10 from 35 users  
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Two young punks, Reena and Jessop, meet on the day the pope comes to Dublin in 1979. Their unholy alliance leads to bed and the formation of The Dead Patriots, a punk band. Three years ... See full summary »



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Cast overview, first billed only:
Annie Ryan ...
John Cronin ...
Gemma Craven ...
Reena's Mother
Steve Burkett
Donal O'Kelly ...
Barry Comerford ...
Garrett Keogh ...
Reena's Father
Ann Marie Byrne ...
Reena's Gran
Niall O'Brien ...
Jessop's Father
Bus Conductor
David Carey ...
Petie's Father
Petie's Mother


Two young punks, Reena and Jessop, meet on the day the pope comes to Dublin in 1979. Their unholy alliance leads to bed and the formation of The Dead Patriots, a punk band. Three years later, they have become a big band in a small town. The offer of a unique record deal in London increases tensions that had already started to grow within the group. Written by Jean Lejuez <>

Plot Summary | Add Synopsis







Release Date:

18 March 1998 (France)  »

Also Known As:

Der letzte Bus  »

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User Reviews

Potentially good movie let down by poor dialogue and acting
10 June 1999 | by (Cork, Ireland) – See all my reviews

This movie offers an original twist on the well-worn garage-band-trying-to-make-the-big-time genre, but doesn't really execute it as well as it could have done. Crass is the name of a punk band by which the 70's Dubliners in the film are influenced, but it's also a word that colud be used to describe some of the film's metaphors, like the pope's 1979 visit to Ireland and the eponymous metaphor, which symbolises the lead singer's unwillingness to change his life. He's a potentially interesting character, who looks like a raw, unpolished talent until we here him perform and realise he's just raw and unpolished. The kids he plays to lap up his mixture of punk and Irish rebel music and attract the attention of a record agent who seems to interested in his girlfriend.... One of the things the film has going for it is, despite the odd glaring anachronism, an assured sense of time and place. The acting is patchy and the films attempts at absolute naturalism are often embarrassing. I thought a shaky, grainy hand-held camera look would have been a more suitable aesthetic for this sort of film, but it's far from being a complete failure nonetheless

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