Alissa Wilkinson

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For 206 reviews, this critic has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 2.5 points higher than other critics. (0-100 point scale)

Alissa Wilkinson's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 First Reformed
Lowest review score: 10 Geostorm
Score distribution:
  1. Negative: 13 out of 206
206 movie reviews
    • 72 Metascore
    • 80 Alissa Wilkinson
    Slay the Dragon isn’t a glorified PowerPoint presentation about the history of voting. It’s an unabashed activist documentary aimed at convincing viewers they can fight gerrymandering in their home states.
    • 67 Metascore
    • 80 Alissa Wilkinson
    Chilly, precisely designed scenes make for a sharp juxtaposition with images of blood, violence, and birth. And the feeling that something very wrong is going on here is inscribed into every exacting, unnerving shot.
    • 64 Metascore
    • 70 Alissa Wilkinson
    Though it verges on the overstuffed at times, Vivarium is dirty, sinister, hair-raising, and thoroughly entertaining — and completely worth a watch if you’re feeling a little, well, trapped.
    • 73 Metascore
    • 70 Alissa Wilkinson
    Somehow it works — probably because The Platform commits to its conceptual framework so thoroughly, and with such precision, that it coaxes the audience to do the same. Its vivid images are designed to imprint on your brain.
    • 68 Metascore
    • 70 Alissa Wilkinson
    Movies like this one are just looking for an audience with whom they’ll resonate. And the seriousness of The Way Back — its unwillingness to take the easy road, and Affleck’s total commitment to letting his personal rawness inform performed pain — should ensure those audiences find what they’re looking for.
    • 61 Metascore
    • 70 Alissa Wilkinson
    It’s better than most of the entertainment aimed at children that studios churn out these days.
    • 54 Metascore
    • 50 Alissa Wilkinson
    On a number of occasions, the film veers close to succeeding. At times it’s evocative and touching. But it’s also heaped high with ideas about the magic of stories and the importance of recapturing your sense of wonder, which don’t really add up to much in the end.
    • 71 Metascore
    • 80 Alissa Wilkinson
    This new Emma doesn’t play too fast and loose with the story or its most familiar beats, but it digs out the absurdities of being wealthy (or adjacent to wealth) around the turn of the 19th century — the affectations, the frills that cover up the crudeness of real life, and above all, the vast, unmitigated boredom.
    • 83 Metascore
    • 70 Alissa Wilkinson
    Zinging between humor and poignance with a lot of charm, it achieves in its most insightful moments what comedy does best: Let us laugh at the world a little, by way of learning something about ourselves.
    • 67 Metascore
    • 60 Alissa Wilkinson
    It’s both interesting and sometimes a little dull, which seems to be by design.
    • 86 Metascore
    • 70 Alissa Wilkinson
    Crip Camp is buoyant and inspiring, a tale of people working together through difficulty and opposition to change the world.
    • 83 Metascore
    • 80 Alissa Wilkinson
    The film is a beautifully empathetic work of art.
    • 32 Metascore
    • 50 Alissa Wilkinson
    It’s literally incredible. I hope I never see it again.
    • 53 Metascore
    • 30 Alissa Wilkinson
    The Rise of Skywalker falls somewhere between an overstuffed fan-service finale and a yawnfest. If The Force Awakens kicked off a new cycle in the franchise and The Last Jedi set it up to push beyond its familiar patterns, The Rise of Skywalker for the most part runs screaming in the other direction.
    • 68 Metascore
    • 40 Alissa Wilkinson
    If we learn anything from the story in Richard Jewell, it’s that truth is truth, whether or not it fits your pet narrative. So either the movie fails at understanding its own message, or it flat-out lies. What a disappointing way to undermine your own valid point, in a movie that’s otherwise well-acted and competently filmed.
    • 74 Metascore
    • 80 Alissa Wilkinson
    It’s a subversive and powerful way to retell the Bonnie and Clyde myth for a new era — but also to reexamine what that myth has meant (something that Thelma and Louise’s feminist retelling did as well).
    • 64 Metascore
    • 60 Alissa Wilkinson
    Frozen 2 is still a plenty enjoyable film, even if it lacks its predecessor’s subversive spark. But for me, watching generative and derivative nostalgia spar within it prompted a different sense of the familiar: bleakness about the future of mouse-eared entertainment.
    • 57 Metascore
    • 60 Alissa Wilkinson
    The Laundromat is unwieldy at times, and its final scene is truly befuddling. But it’s worth watching not just for its bitterly entertaining explanation of a densely confusing matter but also the way it illustrates a larger problem.
    • 69 Metascore
    • 70 Alissa Wilkinson
    Ultimately, the film is not just a wild and nearly unbelievable story; it’s a rumination on the lasting effects of sexual abuse, the complicated question of “good” lies, and the moral quandary that comes along with withholding painful information.
    • 54 Metascore
    • 50 Alissa Wilkinson
    In the hands of Deadpool director Tim Miller, Dark Fate by and large pulls off recapturing the goofy fun of the original, though with a twist. It evokes the earliest Terminator films, but Dark Fate doesn’t want to just rewrite Terminator’s future — it wants to reevaluate its past, too.
    • 75 Metascore
    • 80 Alissa Wilkinson
    The single most useful insight of Get Me Roger Stone is that men like Stone are driven not so much by ideology as by an overweening thirst for power and celebrity, propelled by absolute antipathy for their enemies.
    • 55 Metascore
    • 60 Alissa Wilkinson
    As with most comedies, your mileage may vary wildly. It’s more of a celebration of its own existence than anything terribly fresh, but the jokes are solid and I laughed a lot, which I can’t say for most studio comedies of late.
    • 72 Metascore
    • 60 Alissa Wilkinson
    The fun comes from seeing your favorite characters again, not finally resolving missing pieces that have tortured your sleep for six years. And on that front, El Camino delivers.
    • 76 Metascore
    • 70 Alissa Wilkinson
    It’s an interesting (if not in-depth) exploration of how culturally dependent a thing comedy really is. It’s a vivid depiction of the challenges that black entertainers have faced, particularly in Hollywood. And it is, to everyone’s delight, a great Eddie Murphy performance.
    • 36 Metascore
    • 30 Alissa Wilkinson
    Lucy in the Sky, distracted by its own flashy filmmaking, can’t center its gaze on one goal long enough to convey any of its interests well.
    • 94 Metascore
    • 90 Alissa Wilkinson
    The movie has the maturity of an older man’s perspective, an eye cast backward on a full life. It is lively and wry and very funny, but at times it also feels like a confession, a plea for grace, not just from its protagonist but from the filmmaker himself.
    • 80 Metascore
    • 90 Alissa Wilkinson
    Ad Astra is beautiful, contemplative, and loaded with meaning — not an action movie, but one that leaves you with plenty to ponder.
    • 96 Metascore
    • 100 Alissa Wilkinson
    Parasite is an unpredictable, thought-provoking masterpiece about inequality.
    • 93 Metascore
    • 100 Alissa Wilkinson
    Marriage Story sees the end of a marriage as cause for both mourning and bittersweet comedy. The relationship is changing, but not ending. And the evolution is something to behold. To get a story like this right requires a sense of the comical and the absurd along with the devastating — and Marriage Story delivers.
    • 80 Metascore
    • 90 Alissa Wilkinson
    This film invites us into Rogers’ philosophy that adults would be better people if they tried to remember what it was like to be children. It gently coaxes the audience to filter some very adult emotions through the familiar characters and songs and stories of Rogers’ world. The result is unexpected and unlike any film of its kind, and a testimony to Rogers’ enduring influence, too.

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