Peter Bradshaw of "The Guardian" thought "The film itself is a disappointment; the action is weirdly inert and monotonous, and the acting is opaque." Tony McKibbin of "The List" rated it two stars as "a clumsily realised tale of Oedipal tensions... There are mythic overtones in Ahmed's film, but an almost complete absence of sub-text. In both formal and dramatic terms Ahmed offers the heavy-handed... The film may indicate a timeless quality in its story, but the form of its telling indicates a very contemporary patronage of the audience's intelligence." "The Last Thakur" tells the story of an intense political rivalry between Thakur and the Chairman, laying bare the intrigues of a village riven by political divides. The story tackles taboos subjects such as communal conflict, the genocide and war rapes of 1971, amongst the backdrop of a busy marketplace reminiscent of the ghost towns of the Wild West. The film is narrated from a child's point of view, the young orphan Waris (played by Tanju Miah, the real life subject of Sadik's previous eponymous short film "Tanju Miah"), who earns a living serving in a tea hut. The story is a 'Spaghetti Eastern', about a stranger in a small town who plays two groups against each other. It has been said to be familiar to Akira Kurosawa's "Yojimbo", Sergio Leone's "A Fistful of Dollars", Takashi Miike's "Sukiyaki Western Django", the Coen Brothers' "Miller's Crossing" or even Walter Hill's "Last Man Standing". The bare bones of this scenario can also be discerned in "The Last Thakur", set in a rural backwater of contemporary Bangladesh, but Ahmed is less interested in cowboy movie pastiche than in an intense drama of misunderstandings, madness and murder.