Wall Street (1987)

At the risk of dating this review and making it less relatable to future generations, within the confines of our current economic turmoil this entire thing feels almost like some sort of fable or fairy tale. Showing a man's meteoric rise to wealth under the wing of an entirely ruthless stock buyer, this is the kind of film that reminds a person of the reasons why our portfolios all droop and drag right now. The core of the film is simple rise-and-fall type stuff. It contains almost no surprises, but is still smart about what and how it shows you the machinations at play. Better than that, though, is Michael Douglass as the buyer. Every tiny piece of the character can best be described as “total bastard”, all the way from his suit to his “greed is good” speech. As a relic of a bygone era of infinite prosperity, it is behind the times, but it seems to know it was a snapshot and not a timeless yarn. For what it is, the bits and pieces are impressive, and Douglass is magnificent. Beyond that, it's almost depressing the things this film preceeded.

8 out of 10.

Watership Down (1979)

Respect for an audience can be a hard thing to come by in an animated film. For as many talking bears, singing princesses, and pieces of anthropomorphic silverware as have been drawn for the screen, few are given the chance to breathe and be part of something bigger than mere archetype. Watership Down is not a perfect film, but considering the time it was made and the general story, it's amazing that there was any consideration to make it more than just another kid's film, let alone a full-blown thriller. Seeing a group of rabbits strike out on their own to found a new colony wouldn't be this tense if it had been in more market-minded hands. But there's a confidence here, and a sense of respect enough for the laws of nature to show things maybe not as they really are, but as the could be. It's dark and it's violent sure, but it's honest, and doesn't let tragedy break its stride. Though at times it may seem more interested in how a rabbit moves about than in telling its story, there's definitely a sense of weight and intelligence to be appreciated.

8 out of 10.

The Wire (TV Series 2002 - 2008)

Years from now, when historians look to see what life in America was like in the early 21st century, The Wire is sure to come up. “Grim” and “gritty” don't quite cover the breadth of what's on display here. Unfortunately (or fortunately for the historian), neither does “honest.” As a portrayal of inner city malaise and the bureaucratic interference keeping the problems afloat there are few, if any, pieces of entertainment that even dare to come this close to the truth. What starts as a look at the drug trade of Baltimore and the cops chasing it soon expands beyond those borders, taking on one American institution after another, showing many for a sham, showing others as potentially useful but kneecapped by those in charge. But the show is as much a compelling drama as it is a bullhorn. The cops and the dealers and the politicians and the teachers are built and shown with a staggering amount of complexity, their relationships such that no character is ever a throw-away, and every move made can have immensely far-reaching consequences. It all lends itself to an amazing amount of authenticity, and topics that can and will make almost anyone uncomfortable. Make no mistake: this is bleak television. But for those with the stomach for it, it is unforgettably real, utterly compelling, and almost Shakespearian in its depths and its tragedies.

10 out of 10.

Watchmen (2009)

When adapting one of the most important graphic novels in existence to the screen, the questions that come to the fore are usually ones of accuracy and suitability for cinema. One ultimately wonders with this movie just how much adapting occurred when translating the original work to film. It's accurate almost to a fault, presenting a deeply, darkly dense tome of a film filled with unlikable but powerful crimefighters, all fighting against their own issues while trying to unravel the mystery surrounding the murder of a retired "hero". Make no mistake, there are moments in the film that soar, but even at two and a half hours of wall-to-wall plot and exposition it still may come off to some viewers as impenetrable, if still interesting. In many ways, it's a film made for the existing Watchmen fans more than the casual moviegoer—it is uncompromising, brutal, and at times bafflingly complicated. But it's also exciting, refreshingly new, and visually striking. In among the abundant nudity and stomach churning violence lies a story whose light was only mildly dimmed by the transplant. Ultimately, the failures of the film seem to lie not in the craft of the players on and behind the camera, but in the impossibility of putting something so potent and deep into a new format. Watchmen, as a graphic novel, has a limitless scope carefully exploited to take full advantage of the drawn picture and written word. The film then, is mostly very well made and the product of obvious devotion to the source, however it too often tries to find its footing in a product that was never meant to be seen in motion.

8 out of 10.

Note: Of the two versions available as of July 2009, the Director's Cut is definitely the one to see. It manages to fix the majority of the sticking points of the theatrical cut, and though it adds a few new complatints the result is still definitely a net win and a smoother experience in almost every way. Just be prepared for the full three hour runtime.

Watchmen (Graphic Novel - 1987)

For better or worse, Watchmen changed the “comic book” forever. Alan Moore's magnum opus of so-called super heroes is less of a cheerful yarn telling tall tales of daring and justice and incredible power, but of the aftermath and smoldering ruin of costumed avengers past their prime and relevance, hidden among a society that has had them outlawed. Set in an alternate version of 1985, the story begins as a retired hero is mysteriously murdered, and the demons of a man who lived above the law are unearthed, causing ripples in a community of former crime fighters and villains. What sets it apart is how it is less about costumes and pageantry, but about a series of fundamentally broken individuals who were once driven to battle the dregs of society for one reason or another. It asks what real, completely fallible and often reprehensible human beings would do with near limitless power in a company of peers. The story itself takes a backseat to deep, exhaustive character study, giving each protagonist their due and sense of place; the brutal sociopath Rorschach is given the same level of attention as the godlike, apathetic Dr. Manhattan. It's this level of character depth and darkness, this willingness to show heroic archetypes as unlikable, miserable, depressed, depraved, yet utterly fascinating humans that led Watchmen to its place in history. One can argue with the wisdom of dragging once kid-friendly works into maturity, however at the same time the sheer level of audacity and craft at work in this seminal tome is absolutely undeniable.

10 out of 10.

WALL·E (2008)

At points charming, thoughtful, and uplifting, WALL-E is that rare beast: a Disney film with a message. Earth is in ruins, humanity fled to the cosmos, and left behind to clean up the mess is a single, lonely robot, eternally doing its duty to clean up our mess. And the rest goes from there. It's a simple premise and, for the first forty minutes or so, carried with a sense of grace and presentation unusual in a the genre. The desolate world and its inhabitant are rendered with a sense of melancholy and sympathy that is simply beautiful to behold. This pitch-perfect storytelling doesn't last, however, and though the turn for the worse doesn't make a good film bad, it does take away a considerable amount of its character. Yet the movie going forward still has its message, and a few others too, including some that a few in the audience might even take offense to. But there's a sense of risk and verve in this work that feels truly honest, and frank, and even sometimes important. At its worst, it's a great film. For forty minutes though, it's a brilliant one.

9 out of 10.

Wanted (2008)

You can curve a bullet, but apparently not a character arc. Basically the film is Shoot 'Em Up, this time starring Angelina Jolie's Oscar-winning posterior. And the guy from Last King of Scotland. There are enough serious issues with this movie, structurally, that it's kind of hard to believe it winds up a positive experience overall. The entire first act is a flop, as we hear a whiny cubicle-biscuit narrate a miserable life, abused by his girlfriend and his boss, and basically do anything to avoid a fight. Then suddenly the movie abandons all logic and goes hellbound into one crazy action scene after another, slowly turning the whiner into a hardened killer. It's in this second act that the movie finds its footing, and it certainly leaves an impression. Each firefight defies physics in new and creative ways. There's no logic here, just the pure adrenalin kick of seeing the outrageously impossible. By the time the third act abruptly assassinates the second, the movie has so much forward momentum that it barely matters how the script has jumped completely off the rails. In the right frame of mind, the bullet-ballet on show here can be a thing of beauty, but anyone looking for more than the that is best advised to keep on walking.

6 out of 10.

Night Watch (2004)

Also known as Nochnoy Dozor.
Here's a film so absolutely bursting with story ideas that the entire thing feels like one big setup for the sequel. Thankfully, it's also bursting with visual ideas, so if nothing else you get a eye full of impressive effects concepts. The story's central conceit about a shaky truce between conflicting sides of blood-drinking supermen (not necessarily vampires, though there are some here) is needlessly elaborate and told in such a way that feels both obtuse and pointlessly obscure. It still all makes sense when you look back at it, but getting to that point can be a chore. Couple that with a poorly explained set of apparently complex rules for the truce itself, and all you'll get here is a headache. But the visual side of this tale is remarkably inventive, enough so that the film is mostly redeemed. There are some really nifty effects sequences and action bits in place, and even some really cool ways to depict some of the more mundane details. The rest ranges from inoffensive to strangely spastic, such as the jarring editing that manages to keep a consistent pace despite itself. Calling it style-over-substance isn't quite accurate, since there's plenty of substance going on, but the style is just much more compelling. Either way it's an interesting, if troubled, ride.

6 out of 10.

Day Watch (2007)

guest review by Phineas Gopher

Also known as Dnevnoy Dozor
The follow-up to 2004’s Night Watch, based on a popular trilogy of modern Russian novels, is even more convoluted, involving secret societies of paranormally gifted beings – vampires, witches, and shape-shifters - existing in a shaky truce between good and evil. Think X-Men meets The Matrix. Once again filmed by visionary director Timur Bekmambetov, Day Watch continues the story with a budget that looks to be higher and visuals that are better than ever. Out of context the plot is silly, with the fate of humanity hanging in the balance over a piece of mystical chalk. But that really is beside the point. The film is like a comic book brought to life, with all the smoothed-over logic and emphasis on danger and destiny that implies. If the movie were any less explosive visually, this could be a problem. But the narrative rides a steady stream of wildly creative special effects like it was a new sports car, and the screenwriters serve up enough curious ideas—like body-swapping and deadly yo-yos—to keep it all interesting. The film is overlong at a 132 minutes, but the last act moves quickly enough for this to be forgivable.

7 out of 10.

Note: One other aspect I enjoyed was the unique approach to subtitles, carried over from Night Watch. The titles are incorporated more completely than in most other foreign films. They shake when someone is angry, shatter when something breaks; they are an organic part of the scenery that adds an almost constant touch of whimsy, and calls to mind the endearing playfulness of Amelie. How many action films can say that?

Waitress (2007)

Uncomfortable, unfunny, and at times even a bit uncouth, Waitress is an indie romantic comedy that tries its damnedest to win some lightheaded respect but is weighed down by its crushingly melancholy story. Though the resolution offers a bit of sugar, it's just too little too late to drag up the previous ninety minutes spent with miserable, insecure people bemoaning their respective situations. A big part of this has to do with its attempts at deadpan humor. If used right, this can result in wonderfully sly laughs and clever winks. Here the tone is so morose that almost all the good lines are sucked into a void. I give it credit for finishing strong, but as a whole the film is just too much bitter and not enough sweet. Good to see Nathan Fillion is still getting work.

4 out of 10.

Note: A bit of additional research turned up why this film might've fallen short: writer/director/supporting actress Adrienne Shelly was murdered in her New York apartment in November of 2006, before the film was complete. I stand by my review, but offer my condolences.

The Water Horse: Legend of the Deep (2007)

As far as kid's films go, The Water Horse is above average, but not particularly special. While I give it a lot of credit for taking a largely unexpected direction toward the end, ultimately this isn't much more than an adorable cross-breed of Jurassic Park and Free Willy. All the characters are broadly telegraphed stereotypes: you've got your oblivious parent, a pile of supporting cast members who all know something is up, the rogue adult who's in on the whole thing, and a generic precocious youth determined make things right. Also there's a cuddly, made-for- marketing Loch Ness "Monster" that is so damn lovable you can taste the saccharine. It's all here and for the most part it plays out exactly how you'd expect it to. That's not all bad news; the effects on the titular Water Horse are exceptionally well done, and while the pacing is probably a bit slow for the youth of today's ritalin-based diet, the patient will likely enjoy the predictably precious affair. There's not a lot that stands out from the crowd here, but what's here works in spite of its stock elements to deliver a family film that gets by almost solely on cute factor.

6 out of 10. (but it's a very cuddly 6)

The Wind That Shakes the Barley (2006 Ireland, 2007 USA)

The ridiculously protracted occupation and war(s) between the British and it's neighboring states, in this case Ireland, is barely taught in American schools, so I hope I can be forgiven for going into this movie improperly armed to judge it on historical grounds. What's here is a sometimes-stirring, always interesting, but strangely distant look at the Irish Republican Army's struggle to win Ireland some level of independence in 1920. Cillian Murphy (the guy from 28 Days Later, and Scarecrow in Batman Begins) does a decent job creating an idealistic, sympathetic guerrilla fighter, and the rest of the cast each do well in their parts. But while the story itself is fascinating in its scope and gives equal time to internal politics as much as battle tactics, it lacks a certain something to really draw in the audience. It seems to assume intimate knowledge and emotional sympathy with the struggle, rather than bringing the unaware into the fold. That said, it's still a well-made movie worth watching. If you're up to date on your Irish history, feel free to add a point onto my judgment.

7 out of 10.

Note: I'm almost ashamed to admit this, but the Irish accents and interspersed Gaelic were so thick I had to watch this with subtitles on. Just putting that out there.

Wild Hogs (2007)

More or less, this is pretty much just the middle ground between National Lampoon's Vacation and Easy Rider. A pile of men each going through a mid-life crisis use a cross-country motorcycle trip as an excuse to reclaim their younger selves, and along the way male bonding and amusing mischief occurs. It's a tried and true template, and this film never deviates from the formula, painting broad, crowd-pleasing gags using familiar faces and a few cameos. It stagnates a bit in the latter half when it suddenly remembers that most stories need conflict to drive them forward, but even what happens here causes a few grins and smiles. It's never anywhere near as iconic or hilarious as either of its most obvious influences, but on its own terms it's a passable bit of leather-clad comedy.

6 out of 10.

The Warriors (1979)

Roots are a funny thing sometimes. Everything has to come from something, sure, but some things just aren't indicative of what came before. Case in point: The Warriors. I'm sure that this was seen as a morally reprehensible, edgy, and hip movie back in 1979. Today, it merely looks back to a simpler time when we were naive enough to think gang violence took place between roving bands of themed tough guys using themed weapons in themed [parks?] locations; a time before every gang member was equipped with a red or blue bandanna and a Glock 9. What was edgy before, now simply comes off as silly, dull, irrelevant, and probably best enjoyed in the company of drunk friends. That isn't to say that it's a bad example of youth-targeted film making of its era. The characters are at least consistent, the world's internal logic is sound, and the story moves with predictable but interesting motion. By today's standards, it's a cheesy bit of over-serious fluff, awful music, and unintentional laughs. This film's many period triumphs have simply been washed out by the craft's natural evolution. Still, it has an endearing, remember-when quality that will tickle the nostalgia bone for some audiences. It's a relic, sure, but an amusing one.

6 out of 10.

Wallace & Gromit: The Curse of the Were-Rabbit (2005)

Family films simply do not get any better than this. Somewhere in this mixed up fable of giant vegetables and ravenous rabbits is a slice of purest entertainment. Neither condescending nor unnecessarily vulgar, this movie strikes the golden mean of being equally accessible for both children and adults thanks to exceptionally sharp writing and beautifully nuanced, hand crafted animation. Subtle, charming, and effortlessly hilarious from the very first frame to the very last, it's the kind of movie that reaffirms faith in the genre. The whole movie just works on every possible level, and the end result is absolute magic.

10 out of 10.

We Own the Night (2007)

Chiefly underwhelming is the descriptor that I would donate to this film's ad campaign. Here we've got a generic but inoffensive cop drama that plays by the numbers while trying its damnedest to ride the coattails movies like The Departed. You've got your generic drug deals, your generic mob connection, your generic undercover subplot, and your generic “it sucks to be a cop” melodrama. It's all here, and none of it is particularly good. That isn't to say it's a bad film. For instance the car “chase” scene is disproportionately good, and the overall production values and cinematography are excellent, but the movie as a whole just fails to impress.

5 out of 10.

You'd like to see more reviews here, wouldn't you?

Make a request!