Tomato |
WALL-E (2008) |
"A haunting, fantastic, and eerie robot reverie. Deft little touches add more and more complex, heartfelt circuitry to Wall-E's character. A beautifully wrought film." |
Brian Gibson |
Tomato 5/5 |
Wallace & Gromit - The Wrong Trousers (1993) |
No article available. |
Brian Gibson |
Tomato |
War of the Worlds (2005) |
"Generates chills through eerie, ambient sounds, slow-panning camera shots and pants-pissingly scared characters . . . a nerve-gripping, full-throttle rollercoaster ride." |
Brian Gibson |
Tomato |
The Warrior (2005) |
"A sublime rarity, with its renegade warrior's inner struggle reflecting our wayward society's quest to rediscover its lost soul." |
Brian Gibson |
- |
Watchmen (2009) |
"SideVue: March-Breaking Easter Eggs. Considers the difference between extra little details and meaningful subtextual elements in films, in light of the many easter eggs laid throughout Watchmen." |
Brian Gibson |
- |
Water (2006) |
"'I don't think that film can change anything. I think what it can do, realistically, is create an awareness, and then it's up to the people,' Mehta says." |
Brian Gibson |
Tomato 4/5 |
We're No Angels (1989) |
No article available. |
Paul Matwychuk |
Tomato |
Werckmeister Harmonies (2001) |
"Perhaps Tarr's greatest gift is his merciless sense of cinematic economy and an ambiguity that springs not from some intellectual conceit but from the sheer honesty of his gaze." |
Josef Braun |
- |
What Just Happened (2008) |
"SideVue: Some Kind of Honesty in Tattletown? Considers Hollywood satires and whether they're calculated products of insider vengeance or genuine self-criticism." |
Brian Gibson |
Tomato |
When the Levees Broke (2006) |
"It's the depth and weight of Freeman Jr's or Michael Wright's or Phyllis Leblanc's words, the anger and sadness behind them, that surge forth here, sinking the political elite's murderously empty promises." |
Brian Gibson |
- |
Where the Wild Things Are (2009) |
"SideVue: Beware The Wild Things. Considers the crudely crayoned line between adults and children in light of Maurice Sendak's views and the film adaptation of Sendak's most famous book." |
Brian Gibson |
Tomato |
Whisky (2004) |
"Little, everyday things make up this tender, quietly funny slice-of-life movie. The tedious but dignified ritual of work whirrs and grinds along . . . an understated, introverted film." |
Brian Gibson |
Tomato |
White Mane (1952) |
"The black-and-white shots are beautiful . . . then there is the closing shot, a fantastic melding of escape and loss." |
Brian Gibson |
Splat |
White Oleander (2002) |
"The daughter’s story is often haunting, but Peter Kosminsky's film . . . comes unglued because the mother is the stock psychotic villainess of countless Hollywood films." |
Brian Gibson |
Splat |
The Wild Dogs (2002) |
"No one in this sterile film is redeemed, condemned or even particularly humanized. . . . Ultimately, Fitzgerald’s gutless film is a muddled, grotesque travelogue." |
Brian Gibson |
Splat 1/5 |
Wild Orchid (1990) |
"empty" |
Brian Gibson |
Tomato 4/5 |
Will It Snow for Christmas? (1996) |
No article available. |
Brian Gibson |
Tomato |
William Eggleston In The Real World (2005) |
"There is a sense of impromptu genius, of exactitude colliding with suddenness as the seemingly banal is rendered, for a moment, vividly permanent. Eggleston's photos force the viewer to behold the beauty of the commonplace." |
Brian Gibson |
Tomato 5/5 |
The Wind Will Carry Us (1999) |
"slowly spellbinding" |
Brian Gibson |
Tomato 4/5 |
The Winter Guest (1997) |
No article available. |
Brian Gibson |
Splat |
Without the King (2008) |
"Doesn't explain the monarchy's debt to its British colonial legacy or to African traditions. . . . We don't need cooing, breathy vocals to be shaken by the tour of an AIDS orphanage, or forced to read subtitles when Swazis speak English." |
Brian Gibson |
Tomato 5/5 |
Women on the Verge of a Nervous Breakdown (1989) |
No article available. |
Paul Matwychuk |
Tomato |
The Woodsman (2004) |
"A sharp little movie that plunges into expressive pockets of silence, lets its actors speak with expressions as much as dialogue, and builds mood through vivid little images." |
Brian Gibson |
Splat |
The World (2005) |
"Most of the dialogue lacks spark . . . The plot’s only obvious events are tragedies that strike out of the blue, and the ending is abrupt and spacey." |
Brian Gibson |
Splat |
World Trade Center (2006) |
"A tragedy in a vacuum, a story where two twinkles of hope blot out darkness, a tale of triumph that's hermetically sealed and packaged for maximum feel-good consumption." |
Brian Gibson |
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