The Wicker Man is a re-make of the classic 1973 pagan horror musical, which has been adapted to current times by Neil LaBute, a talented screenwriter / director / playwright, who made a name for himself with confronting adult dramas In the Company of Men and Your Friends and Neighbours (both films which star Aaron Eckhart, who makes a blink and you’ll miss him cameo as a truck stop patron in this film.)

The movie begins with Nicolas Cage’s highway patrol officer trying to save a mother and her young daughter from a fiery car wreck. Shaken by the event, he takes time off from his job when he is contacted by his ex-fiancé (Kate Beahan), who asks for his help after her daughter has gone missing.

Complying too her wishes, he travels to her remote community of Summers Isle, where the most evident difference between this film and the original becomes apparent, as the community is for women only.

And make no mistake about it: women are deceitful creatures who cannot be trusted. In short, they are the enemy, led by their spiritual leader Mrs. Summersilse (Ellen Burstyn), who comes across as something of a cross between Germaine Greer and Jeffrey Jones.

Whatever men that are on the island are treated as second class citizens used for breeding and back breaking labour. This disgusts Cage’s police officer, who scurries around the island searching for the little girl, shouting at anyone who is in his way and knocking out women left and right.

Those who have seen the original would know what this films conclusion is from the get go. The only difference this time is that it is much more graphic, with a cobbling scene preceding it which is in par with that seen in Stephen King’s Misery.

LaBute script is the films biggest weakness. There are plot holes galore which stretches the power of the imagination and leaves many questions unanswered at its conclusion.   

Thankfully, long time David Lynch composer Angelo Badalamenti has been tapped to create the films score, which is rather effective and provides and underlying sense of dread, which LaBute’s writing nor direction could provide.

With a whopping combined 20 producers, it is quickly apparent that there was not that much faith placed in LaBute’s ability to successfully re-make a film which has become something of a cult British horror treasure.

However, even though The Wicker Man is not a good film, it is not as bad as some have made it out to be.  Much of this comes down to the power of its source material, thus making this Wicker Man a glossed up tribute to, rather than a clever update of a horror classic.