The Wailing (2016)
Gruesome murders in a remote Korean village provoke fear and suspicion, then paranoia and purest evil. Initial humor soon turns to oppressive tension that never lets up through 135 minutes and features striking set pieces. Made with intelligence and thrills.
Walk A Crooked Mile (1948)
Shaped with blunt visuals that make solid use of San Franciscan locations, routine spy plot teams FBI agent Dennis O’Keefe with Scotland Yard detective Louis Hayward to break Russian gang and American traitor smuggling scientific secrets. Never builds convincing energy.
Wandafuru Raifu (After Life) (1998)
As simple as it is poignant, the dead are transitioned with the prospect of one human memory to embrace forever. The docu style and natural performers persuade as the eternal is placed within anonymous settings, affirming the specialness of memory and living.
WarGames (1983)
High school computer nerd Matthew Broderick accidentally hacks a NORAD super-computer and is on the verge of precipitating nuclear war. Superior chase thriller with solid production values and adept, populist touch to blend suspense and humor. Appealing leads.
WarGames The Dead Code (2008)
Undernourished story mechanics and lack of style hamper jeopardy or involvement, as another US government computer threatens disaster and hunts down teen Matt Lanter as he tries to escape across Montreal. Subdued production values means minor action.
Warlock (1991)
Bonkers genre mashup as Julian Sands' warlock and Richard E Grant's witchfinder time travel to 80s LA, with Lori Singer's ditzy waitress caught in their apocalyptical fight. Without quite the conviction to embrace the potential, still entertainingly paced with hammy leads and humor.
Warlock The Armageddon (1993)
Imagination remains sporadic amid gruesome, uneven FX as sadistically playful Julian Sands is literally reborn and seeks to conjure the Devil. Awkward teen druids stand in his way during a series of numbing set pieces, pacing feverish not gripping.
Warning Shot (2018)
An opening act sets up mother and daughter on hard times retreating to recently deceased grandfather's remote home only to face cruel, hired guns sent to claim water rights. However, plot mechanics fast stagnate, increasingly bogged down by inert storytelling.
Water For Elephants (2011)
Bright-eyed Robert Pattinson's memories of work and romance at Depression-era traveling circus feature sumptuous visuals though dramatic pulse remains restrained and passion with steely Reese Witherspoon never quite takes flight. Nostalgic charm prevails.
Waterloo Road (1944)
Crisply shot and highly evocative in its south London locations, the slight story features John Mills going AWOL to rescue his wife from the greasy hands of Stewart Granger's archetypal spiv. Told with swift humour and wartime message, there's also an appealing grittiness.
The Way (2010)
Generous, wry and touching tale of strangers who find unexpected friendship and quiet revelations on a pilgrimage route in Spain. Simple, unfussy visuals and leisurely pacing allow the characters room and the emotions to build. Martin Sheen leads the personable cast.
The Way Ahead (1944)
The casual detail of bringing its conscripted protagonists together provides the emotional foundation that is as strong as propaganda as it is dramatically. The terrific cast, generous comedy and exciting central action sequence, combine for a powerful and potent final shot.
The Way Back (2020)
Ben Affleck is an effective drunk, battling the cruelty of the past and seeking a form of redemption through the opportunity of coaching high school basketball. Though nothing is particularly original, the style is gritty, the characters well drawn and the empathy earned.
The Way To The Stars (1947)
Spanning the wartime years of a British airfield and local community, patchwork narrative vividly tells of lives and loss with bittersweet sentimentality. Unfussy approach lends authentic voice and fine cast embodies fleeting joys and enduring hope.
Wedding Daze (2006)
Fitfully amusing, accumulation of contrivance never quite builds physical and verbal momentum despite able cast. Unsure Isla Fisher and lost Jason Biggs take impulsive leap on marriage moments after first meeting. Character eccentricities force situations without substance.
Wedlock (1991)
Rutger Hauer and Mimi Rogers break out of jail with collars set to explode if they don't stay together. A typical action chase story is enlivened by fluid direction and personable performances even if the near future setting results in flat design and questionable clothes.
Welcome Home, Roxy Carmichael (1990)
Flimsy plot mechanics set in motion by mythical title character's return to small Ohio town, a patchwork of locals work through memories and prejudices. Troubled teen Winona Ryder and forgotten landscaper Jeff Daniels provide heart despite lack of tonal focus.
Welcome To Marwen (2018)
From a technical view, a polished blend of live action and VFX as Steve Carell loses himself in a fantasy world to cope with a barbaric beating. In terms of narrative and character, mystifyingly misguided, an expensive curiosity that never connects on any emotional level.
Welcome To Me (2015)
Treading a fine line with audience reactions to mental disability, a woman wins the lottery, stops taking her meds and decides to put on her own lifestyle TV show. The cultural view feels soft and the end too tidy, yet the cast is good and Kristen Wiig a fearless lead.
West Side Story (1961)
With exuberant choreography and sublime musical score, Romeo And Juliet transposed to New York streets remains a dynamic, moving experience, even if design and studio settings are theatrical rather than opening up the locations. A joy nonetheless.
West Side Story (2021)
Gorgeously realized and staged, both technically and emotionally, Bernstein / Sondheim score and songs shine within exciting dreams and tragic confines of young lovers. Urban sweep melds with exuberant dance, at once liberating, mournful and transcendent.
Western Union (1941)
Vivid colors and open landscapes elevate a prosaic narrative structure as battles amid the 1861 construction of telegraph wires contrast with Randolph Scott and Robert Young vying for the affection of Virginia Gilmore. Brisk and dynamic, always involving, fine filmmaking.
We've Forgotten More Than We Ever Knew (2017)
Thoughtfully designed and executed, a man and woman in a lonely forest stumble across an empty tower which reawakens past memories - and find they're not alone. The performances are effective and the atmosphere edgy, though nothing makes sense.
What Lies Below (2020)
A spirited mother and spiky teenage daughter find a ruggedly handsome scientist's intrusion at their lakeside home gets more than just a little weird. A controlled atmosphere never really allows for sci-fi creature scares to break out. Ending is bleakly confounding.
What Lies Beneath (2000)
Polished, carefully designed direction, and jittery Michelle Pfeiffer as a wife gradually overwhelmed with suspicion of disciplined husband Harrison Ford, maintains level of tension. Yet even with supernatural shades, story thrills never secure real grip.
What Still Remains (2018)
Persuasively made and performed, a strangely uninvolving story and sketchy characters add nothing original to survivalist genre. Leisurely paced, distrustful Lulu Antariksa faces subjugation in religious commune or cruel violence of a post-virus world.
What We Did On Our Holiday (2015)
Generous spirit and spontaneous, genuine approach infuse predictable snapshot of brittle family dynamics with fresh impetus. Separated parents Rosamund Pike and David Tennant, and patriarch Billy Connolly upstaged by beguiling trio of kids.
When The Bough Breaks (1947)
Striking and evocative design, lighting and music add surprising depth to an undernourished narrative as empathetic Patricia Roc gives up her baby to emotional Rosamund John, then reverse her decision years later. The coda is sadly facile, the detail and dialog eventful.
When The Bough Breaks (1993)
Despite nonsensical plot holes, chain smoking forensics expert Ally Walker provides a diverting presence as she tries to understand twins with psychic abilities and chase down a killer who severs hands. Sturdily made and intriguing rather than energizing.
Where Eagles Dare (1969)
Despite a meaty two and a half hours, the streamlined narrative carries Richard Burton and Clint Eastwood as they break into a mountaintop fortress on a rescue mission that reveals traitors and double agents. Smart action, fine cast, robust Ron Goodwin score.
Where No Vultures Fly (1951)
Attractive location visuals compensate for unadventurous staging with principled Anthony Steel determined to establish African animal reserve and prevent colonial ivory traders. Wife Dinah Sheridan provides stoic support. Animals add vivid colour.
Where The Sidewalk Ends (1950)
Gritty noir that blends stark locations with atmospheric sets to concentrate on morality and past guilt as tough cop Dana Andrews finds his relationship with resolute Gene Tierney pierces his humanity. Potent sequences and performances, though pacing uneven.
Where The Crawdads Sing (2022)
Amid glossy visuals, initially intriguing tale of abusive isolation and small town prejudice sees wary survivor Daisy Edgar Jones' relationship with lush marshlands overcome broken love and murder court case. Diffused emotions linger amid unfocused narrative threads.
Where'd You Go, Bernadette (2019)
Messy and unconvincing, skill of filmmakers and performers maintains interest, as demanding Cate Blanchett escapes to Antarctica to rediscover her creativity. Bouncing between character study and society satire, uneasy structure results in curious lack of involvement.
While You Were Sleeping (1995)
Embracing the concept of mistaken identity, finely tuned mix of romance and comedy features endearing Sandra Bullock saving self-absorbed Peter Gallagher and falling for his sympathetic brother Bill Pullman. Affectionate storytelling, charming cast, beguiling emotion.
Whiplash (2014)
JK Simmons' intense, brutal Svengali-like music teacher and Miles Teller's obsessive, consumed drummer are well matched adversaries and collaborators in a propulsive, dark tale of abuse and art. Meticulously made, an exciting, exhausting tale, as hypnotic as the rhythmic beat.
Whirlpool (1950)
Increasingly bonkers narrative elevated by Gene Tierney's kleptomania minded victim of snarling Jose Ferrer's murderous hypnotist. Some smart dialog and atmospheric moments amid the B movie hysteria provide minor diversions before a suitably melodramatic finale.
Whistle Down The Wind (1961)
Stark humanity of relationships and sense of community is conjured through evocative photography, Malcolm Arnold's insightful score and natural performances, as innocent Hayley Mills believes fugitive Alan Bates is Jesus. Low-key and movingly composed.
The Whistleblower (2010)
Exploitation of women in 90s Bosnian sex-trafficking ring, ignored and abused by international peacekeepers and UN, seen through eyes of hurting Rachel Weisz as she battles authority threats. Tone hits uneasy balance, unfliching in visuals and performance, engulfed by grim despair.
White Chamber (2018)
Effectively claustrophobic use of sterile set and intimate moments of sadistic torture eventually exhausted by twisting narrative that suggests profundity yet results in undernourished, schematic statements. Scientist Shauna Macdonald ends up becoming part of her own experiment.
White Dog (1982)
Framed as melodramatic thriller and conceived with a pulpish style, corrosive nature of snarling racism is seen through Paul Winfield's efforts to retrain dog corrupted to attack black people. Propulsive cinema, bleakly uncompromising in its tragic portrait of hatred.
White Hunter, Black Heart (1990)
Charismatic, destructive director and showman Clint Eastwood habitually avoids needs of prepping production in Africa for mythic concept of shooting wild elephant. Assured staging, yet contrary themes and character tend to dissipate cohesive drama, leaving strong, isolated sequences amid post-war prejudice, colonialism, and machoism.
The White Orchid (2018)
A murder mystery, deliberately paced and produced, less interested in thrills than with identity and the seductive appeal of other people's lives. With its mix of lingering looks and tantalizing glimpses, a studied neo-noir with satisfying twists and an inquiring, driven Olivia Thirlby.
White Witch Doctor (1953)
Propulsive, exotic Bernard Herrmann score enlivens familiar storyline as studio-bound melodrama is spliced with colorful African locations. Determined to make a difference, Christian nurse Susan Hayward conflicts with treasure-seeking Robert Mitchum. Undistinguished romantic adventure.
The Whole Town's Talking (1935)
Swift pace, impressive scale and appealing cast ensure a story of mistaken identity coasts through a mix of light comedy, gangster drama and social commentary. As dual meek office worker and violent killer, Edward G Robinson convinces. Jean Arthur sparkles.
Wicked As They Come (1956)
Sober, cleanly framed noir morality tale as troubled, cold Arlene Dahl manipulates men to climb from New York poverty to comfortable married life in Paris, until her scheming past catches up. Lead performance affords drily ironic pleasures, dampened by lack of distinctive style and missing sense of devilish energy.
The Wicked Lady (1945)
Stagey setups and pacing undermines the potential of Margaret Lockwood's gender playfulness as a highwayman chasing physical and emotional release. Design and costume, as well as the wedding party and James Mason hanging scene, deliver more persuasive pleasures.
Wild Bill (1995)
Flimsily structured, memories and legends collide with the last days of the lawman in a stylistic mashup that doesn't really mesh to provide an involving narrative. Jeff Bridges leads a fine cast, the design is striking, the western reaches for a mythic meaning it never achieves.
Wild Rose (2018)
Fiery, fragile, conflicted Jessie Buckley, just out of jail, needs to cope with life, young kids and despairing mum Julie Walters, even as she refuses to dim country music dream. Driven by magnetic lead, astute dramatic and musical blend with convincing resolution.
Wild Things (1998)
Enjoyably twisted and lurid, deceitful storyline makes potent use of manipulative quartet Neve Campbell, Denise Richards, Matt Dillon and Kevin Bacon waging charged power struggles amid Florida wealth. Devilish, unrepentant revelations continue through end credits.
Wild Things 2 (2004)
Forlornly unadventurous sequel plays more like remake with spoilt Susan Ward losing inheritance to trashy Leila Arcieri even as insurance investigator Isaiah Washington senses trickery. Bewildering succession of murderous, sweaty twists exposed with bland visuals.
Wildcat (2022)
Damaged young American establishing animal sanctuary in Peruvian Amazon is helped by equally disturbed young British veteran, suffering PTSD from service in Afghanistan. Meticulous detail and consuming atmosphere, even if on screen therapy ultimately feels relentless.
Wildlife (2018)
An intelligent, generous drama sees a teenage son witness the breakdown of the marriage between truthful Carey Mulligan and conflicted Jake Gyllenhaal. The 60s setting is effective, and visuals and design are in tune with emotions, reflections for a fine cast.
Wildlike (2014)
Using the metaphorical as well as rugged physicality of an Alaskan hike, abused runaway Ella Purnell needs to find home and grieving Bruce Greenwood a resolution. Deliberately paced, quietly reflective and redemptive, uneasy subjects tackled with compassion.
Winchester 73 (1951)
While the titular rifle passes through various hands, a symbol of national strength and personal avarice, edgy James Stewart seeks revenge on brother Stephen McNally. Skillfully made, terrific cast and muscular visuals balance the psychological and physical.
The Wind (2019)
Striking visuals and off-kilter sound conjure unnerving atmosphere across empty prairies where practical 19th century western pioneer Caitlin Gerard is gradually unhinged by real or imaginary evil. Contained, splintered narrative fears are ratcheted to demented horrors with impressive conviction.
Wind River (2017)
A body in the frozen Wyoming wilderness leads wildlife tracker Jeremy Renner and FBI agent Elizabeth Olsen to a reservation where rape and murder reveal layers of exploitation. Finely scripted and realized, an intense western that fizzles rather than ignites.
Windfall (2022)
Cleanly poised drama plays on themes of society alienation as stripped-down chamber piece has intruder Jason Segal hold wealthy tech CEO Jesse Plemons and prickly Lily Collins in desert home. Dark, Herrmannesque flavors hold interest with satisfying, violent twist.
A Window In London (1940)
After witnessing a murder that turns out to be a magician husband and wife rehearsing, Michael Redgrave becomes obsessed with the woman, Sally Gray. Good use is made of London locations and though tone and pacing is uneven there's a nicely twisted ending.
Winter Passing (2005)
Though resolution affords a spring renewal, sacrifice of art through prism of dysfunctional family awkwardly balances lonliness and affection-starved characters with moments of quirky humor. Conflicted Zooey Deschanel and strong cast preserve interest; bleak atmosphere dampens lasting insight.
WiseGirls (2002)
Female solidarity faces up to the mob, as struggling Mira Sorvino joins seasoned servers Mariah Carey and Melora Walters at the neighborhood Italian restaurant. Anonymously told with bland visuals, narrative has enough violent turns to keep interest simmering.
The Witch (2016)
A studied, mesmerizing combination of painterly composed visuals and dreamily off-kilter sound design build an edgy tale of family disintegration, awakening feminism and bloody witchcraft in Puritan New England. Gnawing unease engenders primal scares.
The Witches Of Eastwick (1987)
Michelle Pfeiffer, Susan Sarandon and Cher create a striking coven who realize confidence, independence and latent powers after disruptive Jack Nicholson rips up their sleepy town. Wicked humor infuses visual rush and playful score before finally hurtling off the rails.
Without A Clue (1988)
Dim-witted actor Michael Caine provides the front as Sherlock Holmes while Ben Kingsley's intuitive Dr Watson solves the cases and prints the legend. Despite the casting and atmospheric design, laughs and thrills are scattershot, unable to transcend the premise.
Witness For The Prosecution (1957)
Creaky theatrics enlivened by sharp dialogue, formidable performers and consummate production. Grouchy barrister Charles Laughton represents accused murderer Tyrone Power and is dazzled by deceptive Marlene Dietrich. Well-honed courtroom twists and melodrama.
Woheomhan Gwangye (Dangerous Liaisons) (2012)
As visually seductive as its scheming principals, 30s Shanghai is opulent set for sexual cat and mouse with broken Zhang Ziyi the prey for scheming Cecilia Cheung and Jang Dong-gun. Detached style accentuates mischievous personal designs until single tear sparks gripping final melodrama.
The Woman In The Hall (1947)
Minor drama sees unaffected Jean Simmons face the courts after forging a cheque, a way of life learned from scheming mother Ursula Jeans. The story tends to drift, lacking a character or audience focus despite the cast's efforts. Blandly efficient.
The Woman In The Window (1944)
Though the end reveal is either a twist that supports the psychology of Edward G. Robinson's lonely professor or a complete cheat, the sparse, lonely locations and lighting lend a riveting, fatalistic atmosphere as a chance meeting with Joan Bennett leads to murder and paranoia.
The Woman In The Window (2021)
While tension simmers and a physically and mentally reclusive Amy Adams suspects murder, the narrative remains involving. Then the third act kicks in with predictable implausibility and numbing action. The fine cast is left floundering amid polished visuals.
The Woman King (2022)
Smartly produced and expansively staged, involving adventure sees haunted Viola Davis lead ferocious, all-female warrior army to protect African kingdom. Bold performances sell family and political dynamics within undemanding narrative; action sequences provide pulpy visceral thrills.
Woman Obsessed (1959)
After husband dies fighting forest fire, tenacious widow Susan Hayward finds help to run remote Canadian farm from damaged Stephen Boyd, relationship as tempestuous as surrounding nature's brutality. Simplistic sexual politics and character psychology amid expansive visuals and stuttering narrative..
Woman On The Run (1950)
Briskly paced pursuit through gritty San Francisco sees cynical, mistrusting Ann Sheridan avoiding police to prove husband is innocent witness to mob killing, despite marital conflict. Suspicious reporter Dennis O'Keefe's involvement laces tension with dark humor and visuals until funfair climax.
A Woman's Vengeance (1948)
Ponderous opening develops into enjoyably low-key drama with strong performances as philandering Charles Boyer's life disintegrates when he's accused of murdering neurotic wife. With innocent mistress Ann Blyth and scorned neighbor Jessica Tandy caught between, only Cedric Harwicke doubtful of his guilt.
Women In Love (1969)
Gorgeously and intelligently mounted, a mix of vibrantly imagined visuals and verbal ruminations on love and life, sometimes pretentious, often self-conscious, always strikingly lit and designed. Funny and beguiling, luminous performances add to the heady atmosphere.
Women Talking (2022)
Engrossing rather than elevating, considered visuals focus on strength of group resilience in face of stifling community's male abuse as they debate to break free. Uniformly effective ensemble cast enforce contemporary political relevance even if emotional release remains subdued.
Wonder Man (1945)
Predictably frenetic, nightclub performer Danny Kaye is killed when he witnesses gangster hit before his ghost returns and often inhabits withdrawn identical twin to pursue justice. Virginia Mayo and Vera-Ellen provide romance amid over-extended physical gags, nimble musical numbers, clever VFX and gorgeous Technicolor shine.
Wonder Woman (2017)
Vigorous superhero tilt, with receptive Gal Gadot propelled into raw cruelty and generosity of human reality when engaging Chris Pine brings World War I violence to Amazonian haven. Well-judged balance of tones promotes character and humor amid customary colorful excess of VFX action.
Wonder Woman 1984 (2020)
Minor pleasures from 80s setting, buoyant score and vibrant, technical polish yet convoluted plotting and uneven characters flatten interest as concept of wishes coming true causes global chaos. Missing true sweep, Gal Gadot's lead flounders and spirited Kristen Wiig is unable to ground focus amid bloated action.
Woorideul (The World Of Us) (2016)
Paced and designed with keen sense of childhood awkwardness, excitement and brittle emotion, an intimate tale told with clean visuals and naturalness. Two 10-year old girls spiral through holiday friendship, family and school bullying with touching resolve.
Woorijb (The House Of Us) (2019)
Delicate, observant study of childhood friendship as 12-year old Kim Na-Yeon's anxiety of fractured home sees release with equally uneasy new friends, 9- and 5- year old sisters. Careful visual palette and tidy structure soften emotional impact.
Working Girl (1988)
Generous storytelling and sublime cast spurs ambitious, overlooked assistant Melanie Griffith to enter financial world of disdainful Sigourney Weaver and wary Harrison Ford. Yet fanciful romantic comedy setup disguises potent contemporary undercurrents and emotive fulfilment, pierced by soulful Carly Simon anthem.
Wyatt Earp (1994)
Despite its length, lack of narrative and character focus results in little substance to elevate emotions. Production values are rich, the landscapes expressive, yet a fine cast including Kevin Costner and Dennis Quaid can't bring life to the clunky exposition.