- The acting's pretty good.
- The actors are pretty.
- The countryside is pretty.
Even the orchestra is pretty.
- The relative present (immediate post-WWII Scotland) is graded so that it's damn near black and white, with only the characters in color.
- There's one hilarious scene where the heroine is about to interact with a Standing Stone (don't try this
at homeon vacation, kids). This entire scene is graded black-and-white while one forget-me-not is a brilliant digital blue .... that wobbles.
- The immediate past (the heroine's past as a child being raised by an archaeologist) is sepia.
- The true past/present (The Hiiiiiighlands and the post-Jacobite retaliation) is in glorious -- not Technicolor, but Kodachrome. Saturation, man.
- The heroine runs around in a modern -and I don't mean 1940s- cream shiftdress. When she first leaps into the past she's in the shiftdress, a practical plaid shawl, a leather belt, and shoes. Within the first 5 minutes of running around being chased she's lost the shawl -- somewhat plausible -- and the belt, and I have no idea how she managed that. Nobody ever comments on the lady running around a knee-length filthy shift, which would be underwear by 18th-century standards. They call her a whore for swearing (something I find somewhat implausible in the 18th century), but apparently her dress is just one of those things.
- Our heroine is not only a war nurse but has been studying up on herbal remedies as a hobby. As one does, when one needs a profession should one be swept into the past at any moment.
- Enya-in-a-blenda soundtrack.