Alissa Wilkinson

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For 138 reviews, this critic has graded:
  • 39% higher than the average critic
  • 5% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 2.1 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 The Emoji Movie
Score distribution:
  1. Positive: 79 out of 138
  2. Negative: 10 out of 138
138 movie reviews
    • 41 Metascore
    • 40 Alissa Wilkinson
    It’s a movie ostensibly interested in how comic book stories work, but it has the same problems as a lot of the comic book movies hitting the big screen these days. The big twist: Shyamalan seems to have not learned very much at all from his own movies.
    • 60 Metascore
    • 70 Alissa Wilkinson
    There’s nothing flashy or innovative about On the Basis of Sex. It’s the very definition of a workmanlike film. But it’s a satisfying watch nonetheless, and a smart one too — just like its subject.
    • 58 Metascore
    • 40 Alissa Wilkinson
    The Mule is a thinly characterized, clunkily realized showcase for its director, who may or may not be working out some personal issues on screen. Yes, there are some very funny moments, and Eastwood retains plenty of charm. But too often, the film feels slapped together, half-assed, and lacking some much-needed care. And nowhere is that more evident than in the way the characters themselves are written.
    • 51 Metascore
    • 50 Alissa Wilkinson
    It’s entertaining enough to be worth watching for fans of the genre or of Bullock, who turns in a strong performance as a woman who has motherhood thrust onto her in a world loaded with peril.
    • 61 Metascore
    • 30 Alissa Wilkinson
    Vice smooshes a bunch of metaphors together, none of which are particularly illuminating.
    • 82 Metascore
    • 80 Alissa Wilkinson
    Marwencol brings you into Hogancamp’s world as a guest, and as his story slowly unfolds, you come to understand what these stories really mean to him and to his mental health. It’s a quiet, extraordinary film.
    • 66 Metascore
    • 70 Alissa Wilkinson
    So in not sacrificing that human element, Bumblebee is a nostalgic delight that taps into not just the 1980s but youth in general.
    • 44 Metascore
    • 50 Alissa Wilkinson
    Mortal Engines is visually spectacular, if a bit derivative. It’s a social allegory that goes for broke. And while it’s hardly a groundbreaking movie, it’s still pretty fun.
    • 66 Metascore
    • 50 Alissa Wilkinson
    It’s focused on pleasing fans of the original without taking any risks. It’s a pleasant, diverting, modestly ambitious film, fun for the whole family. But it leaves much to be desired, too.
    • 77 Metascore
    • 70 Alissa Wilkinson
    With interviews, clips, commentary, and more, the documentary serves as a quick primer on Welles as well as the film.
    • 78 Metascore
    • 70 Alissa Wilkinson
    The Other Side of the Wind is best viewed as a meta-drama about Welles, laced with a barbed wit.
    • 62 Metascore
    • 60 Alissa Wilkinson
    It’s not exactly for the faint of heart, and its wild zinging from plot point to plot point can get tiring. But if you’re on the hunt for a frightening and original horror movie, it’s a stellar choice.
    • 59 Metascore
    • 60 Alissa Wilkinson
    Outlaw King is plenty entertaining, with a hint of humanity in Robert and Elizabeth’s courtship.
    • 86 Metascore
    • 80 Alissa Wilkinson
    The result is a realist tale about labor, class, and cruelty, while also being a moral fable with a fantastical core.
    • 53 Metascore
    • 60 Alissa Wilkinson
    It’s not a particularly fresh plot, and the movie’s screenplay feels a tad limp, devoid of some of the potential for comedy. But Dumplin’ still manages to be entertaining, and if it hammers on its message a little too often and a little too clumsily, it’s still a fun romp at heart.
    • 87 Metascore
    • 80 Alissa Wilkinson
    Elegiac and lovingly wrought, If Beale Street Could Talk is darkness laced with light, a story that has not stopped being true in the years since it first was told.
    • 84 Metascore
    • 70 Alissa Wilkinson
    There’s no denying that Widows is entertaining. Partly familiar and partly something all its own, the film still stumbles at times. But when it works, it’s enthralling.
    • 88 Metascore
    • 90 Alissa Wilkinson
    It’s a mesmerizing, fascinating story that also feels like an attempt, on Tan’s part, to reclaim the film from Cardona, putting it back in the hands of its rightful owners: herself and her friends. In that way, the new Shirkers is a kind of punk feminist project — a deeply personal, fabulously engrossing, visually assured bit of first-person creative nonfiction filmmaking.
    • 79 Metascore
    • 80 Alissa Wilkinson
    The Ballad of Buster Scruggs is a tall tale about death, a murder ballad about us, trapped in a universe that is mostly unreasonable and nonsensical. And at the end of the journey we’re left laughing through the lump in our throat.
    • 64 Metascore
    • 80 Alissa Wilkinson
    By its enigmatic end, Suspiria is troubling and grim and yet strangely mirthful, having opened wounds without much interest in closing them. This is not a film you untangle; it’s a movie you feel. That will drive some mad. For others, it will feel something like ecstasy.
    • 63 Metascore
    • 70 Alissa Wilkinson
    Beautiful Boy is a beautifully made and complex rendering of a father and son’s relationship that ends with too little hope to fit into people’s “inspirational movie” box. But at its best, it’s a strong rendering of both that horror and the frayed rays of hope that sometimes break through. It’s not easy to watch, but it is, in its own way, still beautiful.
    • 60 Metascore
    • 60 Alissa Wilkinson
    Part metaphorical (which it jokes about halfway through), part homage to old Hollywood, part whodunit, and part social commentary on an America reeling from mid-century chaos, it’s overstuffed but still feels controlled.
    • 80 Metascore
    • 90 Alissa Wilkinson
    The Old Man & the Gun — which, like Butch Cassidy and the Sundance Kid, is based on real characters — is a natural fit for both star and director, and in Lowery’s hands, it feels like both an homage to the past and a gentle step toward the future.
    • 88 Metascore
    • 80 Alissa Wilkinson
    The movie works best, above all, as a melodrama about the limits and possibilities of love, and how love can make us into the best and worst versions of ourselves in the very same moment.
    • 68 Metascore
    • 90 Alissa Wilkinson
    Morris’s film is less a takedown of its subject, and more a Rorschach test for its viewers. What you’ll see is precisely what you’re primed to see — and that, not Bannon’s ideas themselves, is the point.
    • 84 Metascore
    • 80 Alissa Wilkinson
    The movie sees Armstrong’s reserve as both a blessing and a curse, a gift and a problem, but it’s unequivocal in its admiration of his humility. And in this way, it feels less like it’s forcing a myth onto the man who made it clear to his biographer that he wasn’t seeking renown — and more like a statement of gratitude.
    • 81 Metascore
    • 80 Alissa Wilkinson
    It strikes a perfect balance between being a coming-of-age story nestled in a family narrative on the one hand, and a social drama on the other. And in never sacrificing either of those two interests, it becomes a strong example of both.
    • 69 Metascore
    • 70 Alissa Wilkinson
    Moore still suffers from bouts of self-aggrandizement and snide generalization. But they feel jarringly out of place, and in a good way. That’s because, for a great deal of the film, Moore cedes the floor to people whose voices are not as easily heard, or who have had to fight to have a voice at all.
    • 67 Metascore
    • 80 Alissa Wilkinson
    It’s a slow-burn horror film, one that has all the sudden scares and moments of pristine fear present in any good movie of its ilk. But in the hands of Lenny Abrahamson (Room), The Little Stranger is elevated by measured pacing that also makes the larger house-based metaphor clear — and the result is both elegiac and frightening.
    • 87 Metascore
    • 90 Alissa Wilkinson
    Bisbee ’17 is a fierce, lyrical probe into the soul of a town haunted by a history it would rather forget. It’s also an unsettling cipher for America, in a year when the ghosts of our past revealed themselves in frightening ways.

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