Splat 2/4 |
Waiting for Happiness (2003) |
"Once the audience figure out what's being said, the filmmaker's relative passivity will make it tough for them to really care." |
Jeremy Heilman |
Tomato 4/4 |
Waking Life (2001) |
"The film celebrates community to a greater extent than any narrative film I can think of." |
Jeremy Heilman |
Tomato 73/100 |
Wanda (1971) |
"Wanda is rather out of step with the other, more famous, lovers-on-the-run films of its period." |
Jeremy Heilman |
Splat 2.5/4 |
Warm Water Under a Red Bridge (2001) |
"Its initial excitement settles into a warmed over pastiche." |
Jeremy Heilman |
Splat 3/4 |
The Wayward Cloud (2005) |
"As the title implies, watching the film is an experience that’s rather directionless." |
Jeremy Heilman |
Tomato 53/100 |
The Wedding Night (1935) |
"While there is a mild confusion about whether ingénue Sten is mean to be a new Lombard or a new Garbo, the mixture serves the script's needs." |
Jeremy Heilman |
Tomato 3/4 |
The Weight of Water (2002) |
"It overcomes its initial wobbliness and turns into an engaging and literate psychodrama." |
Jeremy Heilman |
Tomato 82/100 |
Wendy and Lucy (2008) |
"Even as Wendy’s desperate situation magnifies every triumph and setback, Williams remains a remarkably grounded presence. It is quite likely the year’s best screen acting." |
Jeremy Heilman |
Tomato 4/4 |
Werckmeister Harmonies (2001) |
"A more accessible, less successful, if less rambling, work than Tarr’s Satantango." |
Jeremy Heilman |
Splat 1.5/4 |
Whale Rider (2003) |
"[It] tries for a somber tone that it can't maintain, partly because the cute protagonist conveys no gravity and partly because it's too frequently going for laughs or stupid melodramatic crises." |
Jeremy Heilman |
Tomato 4/4 |
What Time Is It There? (2002) |
"Tsai convincingly paints a specifically urban sense of disassociation here." |
Jeremy Heilman |
Splat 1/4 |
What Women Want (2000) |
"What a piece of tripe (no offense to tripe)!" |
Jeremy Heilman |
Tomato 3/4 |
What's Cooking? (2000) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
When the Levees Broke (2006) |
Click here to see the review. |
Jeremy Heilman |
Splat 2.5/4 |
When Will I Be Loved (2004) |
"Intellectually, you can respect the desire here to mesh low and high culture, black and white culture, and a Hollywood plot with an indie aesthetic, but for all of the ambition, there’s very little that’s able to enhance the characterizations." |
Jeremy Heilman |
Tomato 3/4 |
Where Is the Friend's Home? (1989) |
"It's only because so many directors have done more with a similar set-up that Where is the Friend's Home? feels somewhat lacking." |
Jeremy Heilman |
Tomato 4/4 |
Whisper Of The Heart (1995) |
"Instead of attempting to show us a fantasy world with their animation, the filmmakers use their medium to accentuate the small details in this one." |
Jeremy Heilman |
Splat 2.5/4 |
White Oleander (2002) |
"The melodramatic machinations of Peter Kosminsky's well-intentioned chick flick White Oleander don't exactly come as surprise or a disappointment, but it ultimately fails to live up to promise of its all-star cast." |
Jeremy Heilman |
Tomato 4/4 |
Who's Afraid of Virginia Woolf? (1966) |
"It earns the hell that it puts us through by never compromising its vision of it." |
Jeremy Heilman |
Tomato 4/4 |
The Wild Bunch (1969) |
"It's a thoroughly modern movie, and has barely aged a bit since its release, since it places itself in opposition to all things past." |
Jeremy Heilman |
Tomato 3/4 |
Wild Reeds (1995) |
"[Its] subdued tone becomes the movie's greatest strength, since it keeps the film's plot events from ever feeling melodramatic." |
Jeremy Heilman |
- |
The Wind (1928) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
The Wind That Shakes the Barley (2007) |
"Two or three scenes manage a forceful, punch-in-the-gut quality that wholly crystallizes the clear-minded sense of purpose that Loach strives for throughout." |
Jeremy Heilman |
Tomato 3.5/4 |
Winged Migration (2003) |
"Winged Migration gives an almost unprecedented look at our flying friends." |
Jeremy Heilman |
Tomato 3.5/4 |
The Winter Guest (1997) |
"The film’s modest goals are met, and the austere technical aspects of the production further preserve the film’s reserve." |
Jeremy Heilman |
Tomato 3.5/4 |
Wish You Were Here (1987) |
"At times tremendously funny, but never humorous at the expense of its emotional core, Wish You Were Here is simultaneously nostalgic and in direct opposition to the way that nostalgia tends to coat the past with a layer of sugary sweetness." |
Jeremy Heilman |
Tomato 85/100 |
The Woman in the Window (1944) |
"The resultant tone of The Woman in the Window is completely unremitting, until it hilariously does remit." |
Jeremy Heilman |
Tomato 3/4 |
Woman is the Future of Man (2006) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
World Trade Center (2006) |
"Perhaps the least likely candidate among American auteurs to make this particular 9/11 movie, Oliver Stone delivers a satisfying portrait of Americans’ ability to weather the storm." |
Jeremy Heilman |
Tomato 3/4 |
World Traveler (2002) |
"Whatever complaints I might have, I'd take [its] earnest errors and hard-won rewards over the bombastic self-glorification of other feel-good fiascos like Antwone Fisher or The Emperor's Club any time." |
Jeremy Heilman |
Splat 34/100 |
World's Greatest Dad (2009) |
"Goldthwait's movie tries so desperately to be edgy that it's hard not to laugh at it." |
Jeremy Heilman |
Tomato 3/4 |
Wrong Turn (2003) |
"[It] is better than the average entry in the subgenre because it eschews exposition in favor of thrills." |
Jeremy Heilman |
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