- |
Wait Until Dark (1967) |
Click here to see the review. |
Beth Gilligan |
- |
Wake Up, Ron Burgundy (2004) |
Click here to see the review. |
Tom Huddleston |
Tomato 4/5 |
Walkabout (1971) |
No article available. |
Matt Bailey |
Tomato |
Walkabout (1971) |
"Walkabout’s obvious concern is the relationship between two parties, separated by centuries of diverting societal behaviors, and thus, differentiated perceptions of sexual roles and etiquette. But what ensues is more ambiguous and interpretative." |
Rumsey Taylor |
Tomato |
Walking and Talking (1996) |
"If any of Nicole Holofcener's films were to appeal to a male audience (or at least provide the fewest squirm-inducing moments to it), it would be Walking and Talking." |
Matt Bailey |
Tomato |
The War Game (1965) |
"A startling and inflammatory plea against political indifference in all its forms" |
Leo Goldsmith |
Tomato 5/5 |
The War Game (1965) |
No article available. |
Matt Bailey |
- |
Watch on the Rhine (1943) |
Click here to see the review. |
Matt Bailey |
Tomato 4/5 |
Water Drops on Burning Rocks (2000) |
"Good for Ozon, less so for Fassbinder." |
Matt Bailey |
Tomato |
The Watermelon Man (1970) |
"It is not the most stalwart ethnological study of its time, though it is significant for its heritage, its confrontation, and its violation of taboos." |
Rumsey Taylor |
Tomato 3/5 |
Waterworld (1995) |
No article available. |
Rumsey Taylor |
Tomato 5/5 |
Way Down East (1920) |
No article available. |
Matt Bailey |
- |
A Wedding (1978) |
Click here to see the review. |
Jason Woloski |
- |
The Wedding March (1928) |
Click here to see the review. |
|
Tomato |
Weekend (1967) |
"Week End constantly propagates images that convey class and taste. And in few films does privilege seem so crass and repellant." |
Rumsey Taylor |
Tomato |
Wendy and Lucy (2008) |
"A car breaking down, a lost dog, a town with no jobs -- these are mundane points in a mundane America, but they are Wendy’s world in its entirety, a floating world that we glimpse briefly before it moves on." |
Leo Goldsmith |
- |
Werckmeister Harmonies (2001) |
Click here to see the review. |
Rumsey Taylor |
- |
Wes Craven's New Nightmare (1994) |
Click here to see the review. |
Tom Huddleston |
- |
What About Bob? (1991) |
Click here to see the review. |
Rich Watts |
Tomato |
Where the Wild Things Are (2009) |
"The emotions at the core of each scene are sincere, and invariably true to the source." |
Rumsey Taylor |
- |
Whiskey Galore! (1948) |
Click here to see the review. |
Tom Huddleston |
Tomato |
White (1993) |
"The tonal shifts in White display, for the first time, the emotional depth the trilogy enables, and functions secondly to paint expectations for Red." |
Rumsey Taylor |
- |
White Dog (1981) |
Click here to see the review. |
Jason Woloski |
- |
White of the Eye (1987) |
Click here to see the review. |
Rumsey Taylor |
- |
The White Sheik (1928) |
Click here to see the review. |
Rumsey Taylor |
Tomato |
The White Sheik (1952) |
"Such as in La Strada and Nights of Cabiria, in The White Sheik Fellini acknowledges his neo-realist foundation, and displays a capacity for fantasy." |
Rumsey Taylor |
- |
Who Loves the Sun (2007) |
Click here to see the review. |
Tom Huddleston |
Tomato 3/5 |
Who Slew Auntie Roo? (1971) |
No article available. |
Matt Bailey |
Splat |
Who The Hell Is Juliette? (1997) |
"The film took nearly two years to complete, and it's amazing, in consideration of its subject and content, that the film has any coherence at all." |
Matt Bailey |
Tomato |
Who's Camus Anyway? (2005) |
"The Japanese propensity for faithful imitation is the focus of Yanagimachi's film, and, most of all, the imitation of life through the cinema." |
Leo Goldsmith |
Tomato 5/5 |
Who's the Man? (1993) |
No article available. |
Leo Goldsmith |
Tomato |
The Wicker Man (1973) |
"There are few entries in Seventies cinema in which the efforts, the ideas, and the execution transcend the implications of cheap, genre filmmaking, and there are none as thematically appealing as The Wicker Man." |
Rumsey Taylor |
- |
Wife! Be Like a Rose! (1935) |
Click here to see the review. |
Ian Johnston |
Splat 2/5 |
Wigstock: The Movie (1995) |
No article available. |
Matt Bailey |
Tomato |
Wild at Heart (1990) |
"The film takes its protagonists’ twisted, perverse subconscious as its reality: a world of circus freak hitmen, trailer trash Wicked Witches, and, well, Crispin Glover." |
Leo Goldsmith |
Tomato |
The Wild Bunch (1969) |
"The film does not highlight genre traits, and replaces them with a violence unparalleled in the genre’s other entries; it is Sam Peckinpah’s trademark punch, and The Wild Bunch is his showcase." |
Rumsey Taylor |
Tomato |
Wild Side (1995) |
"Wild Side has a definite point to make with its sex scenes: the characters rarely sleep with each other without a definite narratological or psychological purpose." |
Leo Goldsmith |
- |
Wings of Desire (1987) |
Click here to see the review. |
Charles Hartney |
Splat 1/5 |
The Wisdom of Crocodiles (1998) |
No article available. |
Matt Bailey |
- |
Witchboard (1987) |
Click here to see the review. |
Thomas Scalzo |
- |
The Witches (1990) |
Click here to see the review. |
Beth Gilligan |
- |
Withnail and I (1988) |
Click here to see the review. |
|
- |
Wolf (1994) |
Click here to see the review. |
|
- |
Woman in the Dunes (1964) |
Click here to see the review. |
Rich Watts |
Splat |
A Woman Is a Woman (1960) |
"If Jacques Demy had been a sufferer of adult ADHD, he might have made a film very much like Jean-Luc Godard's A Woman is a Woman." |
Matt Bailey |
Tomato |
Woman is the Future of Man (2006) |
"Provocative, even disturbing in its resistance to categorization, demanding from its viewers a response without the reassurance of psychology or narration." |
Leo Goldsmith |
Tomato 4/5 |
Woman of the Year (1942) |
No article available. |
Matt Bailey |
- |
A Woman's Secret (1949) |
Click here to see the review. |
|
Tomato 4/5 |
Women on the Verge of a Nervous Breakdown (1989) |
No article available. |
Matt Bailey |
Tomato |
The Work of Director Chris Cunningham (2003) |
"Those expecting a complete retrospective of Cunningham's work will be disappointed. Of course, all that is missing does not tarnish the brilliance of what is included." |
Matt Bailey |
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