This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

I've passed this one on the shelf a dozen times and happened to pick it up as my wife doesn't like dark comedy, shoot'em-ups or slap-stick. I knew it was a winner just seeing Gabriel Byrne, Miranda Richardson and Emily Watson. But, the story was excellent, young Nicholas Hoult was outstanding with the support of such talent like Julia Waters, Celia Imrie. Writer/Director Richard E. Grant has captured the petty intrigues and back-biting found in the British ex-pat colonial service of the 60s, along with the trysts, scandals and class distinction. The setting and depiction of the African scenes are breathtaking, albeit the focus is on the Brits in the process of returning this country to the Swazi. All in all, a great story, rife with human interest, fraught with human frailties and painted on a touching but not maudlin canvas and well worth watching.

Richard E. Grant's life must have been spectacularly insular, because there are hardly any moments when a country's native African population get any valuable screen time. Hell, GONE WITH THE WIND had three supporting characters, all black, sharing equal screen time with the film's white stars (even if this sentence sounds wildly inappropriate, there is really no other way to say it, and anyway, I am right.). In more than one instance, they also practically walked off with the scene they were in, and Butterfly McQueen's line "I ain't no nuthin' 'about birthin' babies!!" has gone into cinema history as one of the most popular quotes of the movie alongside "Frankly my dear, I don't give a damn." I could even go into my own life living it in Dominican Republic, a country with a seventy-five percent mulatto population. While I went to an American-Canadian school, my life wasn't that insulated to the political unrest that was the order of the day. If I would have to ever write anything about life in the Dominican Republic from 1979 - 1996 I would and could not exclude an entire population in lieu of creating a pretty soap opera about familial divorce... which is exactly what WAH-WAH turns out to be for its entire run. Not that this is a bad thing, but aside from this glaring discrepancy, there isn't much else going for a story that tries to have depth, tries to focus on the fall of an empire, and succeeds in doing neither.

I've been a big fan of Richard E. Grant's work for years. I enjoy his manic on-screen energy. I especially enjoyed his 1995 published diary WITH NAILS, where he told of his life in pre/post independent Swaziland: his parents divorce, his father's position as minister of education, seeing Clockwork Orange illegally, etc... Therefore, I was excited to see Wah-Wah. I was wrong. If I get bored very early in a movie, that's a bad sign. I found it very slow and I didn't sympathize with the characters. I thought Gabriel Byrne gave, as always, a very powerful performance. Miranda Richardson is always a strong presence. I like Emily Watson, but I didn't like her in this film. I think she was trying too hard to act "American." Maybe Grant should have just cast an American. Once again, I was excited to see this film, but after seeing it, I felt as if it didn't need to be made.

This is the kind of movie I desperately hope for when I go to the cinema: A great story with great acting - everything else is window dressing. The British withdrawal from Swaziland forms a quite distant backdrop for this family melodrama. Absolute powerhouse performances from Gabriel Byrne (as an alcoholic divorcée) and Emily Watson (as an out of place American) join a watershed performance form the young Nicholas Hoult (from About a Boy), whose transformation from young boy to young man was one of the most compelling and convincing I have ever seen. The plot moves very rapidly through an endless cycle of unhappiness, family breakdown, drunkenness - and yet somehow, in the midst of this relentless pace, we feel for every character, and experience every emotion.This directorial debut goes so many places - staging a musical, many puppet shows, exploring the clash of three cultures, the ugly face of racism, a boy's coming of age - and yet the central narrative of a boy trying to find grounding in the midst of a tumultuous family life is brilliantly conceived, and always at the forefront. The auburn palette of the film is accentuated by over-exposed shots and intimate camera angles; this movie brings a small, insular circle of families to life, and while it makes no pretension to explore African culture (this itself is pointed, since the Brits were so racist), it explores the crisis of the modern family as well as cinema can possibly hope to.The tragic, show stopping revelation at the end concerning Byrne's character demands the whole movie be re-watched; it is an epiphany for Hoult, and it just may leave you thinking for a long time to come: What is the essence of a family? If love isn't enough, what is? There is a scene in the middle of the film where Hoult is transposed with Malclom McDowell's character from A Clockwork Orange. By the end of the movie I had my mind made up: Yes, Wah Wah can indeed stand proudly alongside the great films of cinema history, it's just that good.