Film Reviews by David Walsh, WSWS Arts Editor
Touch of Evil: that ticking noise in our heads
By David Walsh, October 20, 1998
Orson Welles directed the filming of Touch of Evil, his seventh feature, in early 1957. He got the assignment from Universal Studios in part due to the urging of the film's leading actor, Charlton Hes...
Buffalo '66:
By David Walsh and Joanne Laurier, July 22, 1998
Vincent Gallo's Buffalo '66, co-scripted by the director and Alison Bagnall, is one of the most beautiful and moving American films I have seen in a very long time. It deserves the support of every se...
‘The supreme vice is shallowness’ – Oscar Wilde
Wilde’s martyrdom in perspective
Wilde, directed by Brian Gilbert, screenplay by Julian Mitchell
By David Walsh, May 30, 1998
Brian Gilbert's Wilde, from a script by Julian Mitchell, with Stephen Fry in the leading role, has a certain seriousness about it. This account of Anglo-Irish poet-playwright Oscar Wilde's trials and ...
David Walsh looks at Taste of Cherry, a new film from Iran
Despair, hope, life
By David Walsh, April 11, 1998
Film review: Taste of Cherry, written and directed by Abbas Kiarostami
Titanic as a social phenomenon
By David Walsh, February 25, 1998
James Cameron’s Titanic is a massive global success. The film is taking in millions of dollars a week, on its way apparently to the one billion dollar mark. Even Cameron claims to be
Why are the critics lauding Titanic?
By David Walsh, January 30, 1998
There are few excuses for those critics who are singing the praises of James Cameron’s Titanic. It is a bad piece of work—poorly scripted, poorly acted, poorly directed. If it weren’t for the hu...
Wag the Dog: Not everyone is fooled
By David Walsh, January 30, 1998
Wag the Dog is a funny and pointed film about American political life, with remarkable relevance to contemporary events.
Four films from Taiwan and China
By David Walsh, November 6, 1995
In an oft-quoted remark reportedly made to a young Romanian poet in a Zurich restaurant during World War I, Lenin is supposed to have said, in part,
Jane Campion's The Piano: A sensitive touch to a fairly selfish theme
By David Walsh, January 17, 1994
In Jane Campion's film The Piano, mute Scottish widow Ada McGrath (Holly Hunter) and her child take themselves off to New Zealand in 1852 to start a new life.
