Alex Cox and Rudy Wurlitzer have one of the more perplexing and rather cool works of late 80s subversive film-making with Walker, a film about a real man and his mad overthrow of the government of Nicaragua in the mid 1850s. It was a fiasco, but it almost wasn't at one point. There was a moment where the line was distinctly crossed with the execution of a certain character, and it's also at this point in the film that Cox lets things go even further off the wall from the period setting. For a while it's so not trying to be any kind of absurdist take on things that it seems like a (good) serious take on a man like Walker (Ed Harris) in a strange land that he thinks he can make well under "democratic" terms. As he soon goes against everything stood for, the film too goes into bizarro world, mixing in cars, computers, Time and Newsweek, and even a real army helicopter and soldiers (the copter, I might add, was a real chopper used in the Nicaraguan battles of 1987).In the sense of marking out ground that is all of a director's own in this form and context, it's not quite Aguirre, but for Alex Cox, a director who's had his ups and downs, it's a significant achievement. It seems like it should be all nonsense, and that the film might be taking itself too seriously. But in reality the nonsense is what the film is sort of about, not really how it comes off. Cox goes between overtly homage-like slow-motion action shots of battle and blood splattering with guns going off like Peckinpah with a heap-load to let go. What is it, anyway, to try and bring democracy to a land like Nicaragua, and under the circumstances (i.e. under Vanderbilt, played by Peter Boyle with his own crazy-big mutton chops) that should be already considered troublesome? Walker wasn't even any kind of politician before this, though as also a doctor and lawyer he tried (unsuccessfully) to bring some battle over Mexico. Is it a microcosm? Does it say where we're headed, or rather where we are now? Probably to both. It's a trip that shouldn't be taken too lightly, and it definitely isn't for everyone, but what's thrilling about Cox's vision is that he has no fear of what the audience will think anyway. Like Repo Man's mix of teen punk comedy and sci-fi action pic, Cox is mixing and experimenting forms, a Dr. Strangelove take on Manifest Destiny with a style that veers between obscure spaghetti western and featuring one of the great, groovy soundtracks of the 80s from Joe Strummer. It might not be anything that will end up on 'best-of-ever' lists, but as a work unto itself this and Withnail & I are the superb cult films of 1987, with this begging for some re-examination twenty-something years later. At the least, it's one of Ed Harris's unsung masterful and subtle performances.

This is the story of William Walker's take over of Nicaragua in the late 19th century been done in a very very deliberate style which forcibly draws comparisons between Walker's actions and the madness of the Reagan administrations similar adventures. We see modern cars, Time Magazine and references to modern people and events. The style is very arch and very knowing that walks the fine line between intentionally funny (good) and unintentionally funny (bad), falling over the line repeatedly often with in the space of the same minute. Its also a film that is truly unique in film history.Looking at this film for the first time in fifteen or so years I'm struck by how silly it is. I'm not sure if director Alex Cox succeeded in making any sort of real film, rather I think he's made a very political minstrel show that tries a little bit too much to be rib tickling and relevant and instead comes across loud and annoying. You've never seen anything like this before or since. Don't get me wrong, I like the film in that odd road accident sort of way many films that almost work sometime have (Little Nicky anyone?). This film is a road accident, but you have to watch not sure if its good or if its bad.Clearly had the film been played straight it would have been an okay film that quickly dated, became forgotten and was never heard from again. But Cox, by allowing the intrusion of 1987 America, and several odd touches has fashioned a film to ponder and be amazed about. What was he thinking when he allowed Ed Harris to give one of the most bizarre and wrongheaded performances ever committed to celluloid? Even over actors like the great Tod Slaughter knew you had have some sort of restraint, Harris shows none and in scenes like the one where he arrives home to find his wife dead, he emotes with a passion that I can only describe as deranged.You will not believe your eyes.Still the film does make some valid points about the nature of American foreign policy, and it does have some truly wild moments that are enjoyable simply because you can't believe anyone would really think to put them on a screen for other people to see (okay, not some moments, the whole film) Recommended for those who want their films as wild and off the beaten track as they come. Bad film lovers are also a target group.

In the 1850's an American soldier-of-fortune known as William Walker marches his army into Nicaragua to take control of the country for a wealthy and powerful capitalist, Cornelius Vanderbilt. Through time, Walker sets himself up as the ruler of the worn-torn country, but the power gets to his head when he bites off more than he can chew to keep it that way and hold onto those principles he believes in.Cult director Alex Cox churns out one very peculiar, social minded and disjointed experience from his effort on "Walker (1987)". While, the film does contain bad aspects and goes about things rather forcefully. There's still entertainment within this spirited feature and Ed Harris kept me captivated with a truly intense and radiant performance as the black dressed William Walker. After a somewhat serious opening on the factual story, it eventually succumbs to surreal imagery and anachronistic details to get its loud and intrusive message across. Like many have mentioned in their comments it does have real visionary punch to it that resembles Sam Peckinpah's work. Just look at the brutal action and glamorous slow-mo interwoven into many scenes. Alex Cox's direction is quite staged and can get heavy-handed, but the many stylistic touches and eccentric moods do rub off. I loved the way he decided to shoot the flick. Rudy Wurlitzer's over-dramatic, but stirring screenplay is laced with pot shots and parallels on the political interference of the USA from 1850's to the most recent. There seems to be too much going on in the script and it felt like it was pushed along too quickly, which meant the diverse narration became choppy with some unclear details. It was actually hard during certain moments to take it seriously because of some odd and absurd comedic developments. Joe Strummer provides the ever-changing carefree mixture in the music score with perfect results in capturing the tenor. The strong supporting cast with the likes of Richard Masur, Xander Berkeley, Rene Auberjonois, Sy Richardson, Marlee Matlin and so on… work very well and fed of Harris' egotistical character marvellously. The way Walkers' progressive power got to his head personally and finally backfires on him (and his followers) with many disillusions having a lasting affect on his judgement is portrayed beautifully and concisely.It probably thinks it's more grandeur than it actually is, but this is one fascinating foray nonetheless.

Alex Cox seems to strive to be a cult director a little too much in my opinion. Such is the case with Walker. This film starts out serious, and is kind of interesting, hammy acting and all, and then just goes completly sideways. It seems to me that Alex Cox just kind of threw out the idea of this being anything but a dark comedy, and threw in stuff like newsweek and time magazines, helicopters, and computers. Worth a view, but I think that after Repo Man and Sid and Nancy, Alex Cox took his label of cult director a little too far, and that is why you don't really see much of anything by him. I think that this is why Fear and Loathing in Las Vegas was taken away from him and given to Terry Gilliam. Still, i don't think that you have heard the last from Cox, and I think that he will one day return to the limelight that he was once in. Lets just hope he doesn't fall out of it again.