The Wall

Sort of feels like PHONE BOOTH in Iraq, and Liman handles the claustrophobic and oppressive atmosphere about as well as Schumacher before him – while this pretty much laughably fails as political polemic, with a lot of simplistic posturing from both sides of the argument, and a nihilistic finale which is goofy in its absurdity, as a tense mano-a-mano thriller, it scores very well, with Taylor-Johnson inhabiting his action man persona believably, and Nakli’s smoothly sinister voice the perfect foil. Ultimately a disposable execution of some cheap and nasty tropes, but agreeable fun for what it is.