In 1932, two clueless socialite heiresses with zero survival skills find themselves lost in the wilderness with a price on their heads. This is Timothy Hines’ comedy The Wilde Girls.
Timothy Hines’ The Wilde Girls is a mildly funny comedy that mixes survival struggles with a coming-of-age story. Though charming in places, it is not without its weaknesses and although it offers us a few laughs and some interesting scenery, the film often leans too heavily on green screens, stock footage, and repetitive visuals, limiting its overall impact.
Set in 1932 during the Great Depression, the story follows Tinsley and Mattie Wilde (played by Lydia Pearl Pentz and Cali Scolari), two spoiled New York heiresses who suddenly lose their fortune. With nowhere to turn, they are dumped into the rugged forests of the Pacific Northwest, forced to survive with the reluctant help of a gruff mountain man, Silas Colter (Teddy Smith).
The setup is strong: two privileged girls with no survival skills, thrown into the harsh wilderness and expected to fend for themselves. The usual fish out of water scenario, but when it is good, The Wilde Girls delivers some laughs as Tinsley and Mattie panic over basic outdoor challenges, from bugs to basic shelter building to eating things they never would dare. Hines’ script is at its brightest when poking fun at the sisters’ complete lack of self-awareness, and the performances are equally lively. Pentz and Scolari bring a lot of energy to their roles, making their characters flawed but ultimately likeable. Teddy Smith, meanwhile, gives Silas a grounded, heartfelt presence that adds weight to the comedy.
One of the film’s clear strengths is its cinematography. When The Wilde Girls does film on location, it beautifully captures the rugged beauty of the Pacific Northwest. dense forests and hills set a rich, atmospheric backdrop for the characters’ struggle to adapt. The wild environment often feels like its own character, with the images of bugs and big cats seemingly creating a vast and untamed environment.
However, not all of the visual storytelling works as well. A significant portion of the movie is filmed against green screens, with actors placed in front of digitally inserted backgrounds. The effect can be distracting, pulling viewers out of the moment. The film also frequently cuts to what appears to be stock footage of forests, rivers, and animals, which, while scenic, starts to feel repetitive over time. These inserts sometimes slow down the pacing and dilute the immediacy of the characters’ experiences.
Special effects are used to create certain hazards, such as swarms of bees, but due to budget constraints, these are of varying success. While some effects blend decently into the story, others are less convincing, revealing the production’s budget limitations. Scenes filmed outdoors with real environments do offer more authenticity, but even those sequences can become repetitive, with similar forest settings appearing without much variation.
Despite these issues, The Wilde Girls remains entertaining thanks to its spirited performances, its clever script moments, and its surprisingly emotional core. Hines infuses the story with a real sense of heart, layering themes of growth, forgiveness, and resilience beneath the surface comedy.
Ultimately, The Wilde Girls is a flawed but likable film; a movie experience that offers genuine laughs and touching moments even as it struggles with uneven visuals. Audiences looking for a light, old-fashioned survival comedy with a little emotional depth will find enough here to enjoy, especially if they can forgive the rougher edges.
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