Alissa Wilkinson

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For 96 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 The Florida Project
Lowest review score: 10 Geostorm
Score distribution:
  1. Positive: 54 out of 96
  2. Negative: 7 out of 96
96 movie reviews
    • 85 Metascore
    • 100 Alissa Wilkinson
    It’s a remarkable addition to the small but growing canon of American films that aren’t afraid to stare straight into an abyss with all of the implications — moral, ethical, political, and religious — that are required for this moment in our history. First Reformed is a confounding stunner of a movie and richly deserves our full, serious attention.
    • 80 Metascore
    • 70 Alissa Wilkinson
    While writer-director Brad Bird’s Incredibles 2 is undeniably a good time at the movies for the whole family, it’s the rare superhero movie that may have too many ideas knocking around in its noggin, none of which seem terribly coherent. And that, in the end, makes the film less than it clearly wants to be.
    • 85 Metascore
    • 70 Alissa Wilkinson
    The film succeeds on the radically subversive and obvious notions we learned when we were children: that being nice is not a weakness; that speaking with care is a thing we do simply because we believe the person we’re talking to is a human being with worth and dignity. What’s most startling about Won’t You Be My Neighbor, and what makes it feel almost elegiac, is how very jarring that message feels.
    • 87 Metascore
    • 90 Alissa Wilkinson
    The movie lingers in the mind and sits like a lump in the soul. And it’s deliciously twisted along the way. Hereditary has nightmare fodder to spare, and nobody, in the end, gets to escape.
    • 59 Metascore
    • 70 Alissa Wilkinson
    Under the Silver Lake isn’t an homage so much as a remix of classic Hollywood tropes, which positions itself and its contemporary hipster characters less as the continuation of history than the end of it.
    • 62 Metascore
    • 50 Alissa Wilkinson
    The result is a bland heist movie in space that does nothing unexpected and never justifies its existence.
    • 69 Metascore
    • 70 Alissa Wilkinson
    While the movie finds its setting in a particular moment in Leningrad, it also feels very universal — a movie about being young and disaffected and passionate and in love, and watching all that change as you grow older. Summer, after all, never lasts forever.
    • 63 Metascore
    • 70 Alissa Wilkinson
    Pope Francis — A Man of His Word isn’t likely to convert any of Francis’s critics, but it might just convince the indifferent that he has something to say to our world.
    • 91 Metascore
    • 90 Alissa Wilkinson
    It’s a work of unspeakable beauty, one that doesn’t leave you when the film ends, and its deceptively simple focus on a love story can’t mask its cinematic achievement.
    • 75 Metascore
    • 30 Alissa Wilkinson
    BlacKkKlansman isn’t wrong about the evils of white supremacy. But it’s pretty sure you, out in the audience, aren’t going to get it unless it spells out the message in blinking neon lights. And even then, the film seems to fear you might miss the point.
    • 67 Metascore
    • 70 Alissa Wilkinson
    Arctic doesn’t employ too many fancy tricks or frills: It’s just a simple, straight-ahead survival drama that lets Mikkelsen showcase his considerable acting chops, leaving viewers as impressed with his stamina as we are with his character’s.
    • 75 Metascore
    • 80 Alissa Wilkinson
    It’s funny. It’s uncomfortable. And it feels real and lived-in, right to the bone.
    • 47 Metascore
    • 40 Alissa Wilkinson
    There’s a potentially funny movie in here somewhere. But it lumbers along, wasting some of its greatest assets and, in the end, overstaying its welcome.
    • 63 Metascore
    • 50 Alissa Wilkinson
    Even when he’s in a mediocre movie (and he often is), LaBeouf is a magnetic onscreen presence. There’s a naturalism and complexity to his McEnroe that keeps him from being turned into a caricature. It’s hard not to want more of him.
    • 45 Metascore
    • 50 Alissa Wilkinson
    It’s both a blindingly predictable pastiche of an action movie — absolutely nothing happens here that you haven’t seen in a movie before, with the possible exception of some crass sign-language humor from a giant gorilla — and weirdly charming.
    • 82 Metascore
    • 80 Alissa Wilkinson
    A Quiet Place is the best kind of horror movie. It toys with how we hear the world around us, in ways that are startling and creative and tense.
    • 69 Metascore
    • 70 Alissa Wilkinson
    For the most part, it works. Blockers isn’t groundbreaking or particularly memorable. As comedies go, it’s pretty standard fare. But its characters and performances keep it light on its feet, even when the writing gets clunky.
    • 64 Metascore
    • 60 Alissa Wilkinson
    Ready Player One is set in a dystopian future. But it seems to have no idea how dystopian it really is.
    • 44 Metascore
    • 40 Alissa Wilkinson
    What’s most interesting about Pacific Rim: Uprising isn’t the movie itself — it’s how the cause of the impending apocalypse has evolved from the first to the second film, and how that maps onto apocalyptic stories more generally.
    • 82 Metascore
    • 50 Alissa Wilkinson
    Isle of Dogs, though carefully crafted, doesn’t have much to say — and that’s what’s frustrating about the movie. Anderson has always been one of the most stylistically distinctive American directors, but at times it’s felt as if his fussiness was a way to wallpaper over a lack of new narrative ideas. Isle of Dogs doesn’t suggest an evolution.
    • 48 Metascore
    • 60 Alissa Wilkinson
    For all of Tomb Raider’s strengths, it would still be a stretch to call it a good movie. It’s diverting, a good way to spend a couple of hours, but it’s hamstrung by something that’s unavoidable: The whole central concept — raiding tombs — is just, well, not that interesting.
    • 53 Metascore
    • 50 Alissa Wilkinson
    For as much as DuVernay’s film is a lovely and good-hearted movie that delivers lots of eye-popping, imaginative awe, its status as an adaptation necessarily raises the question: Was A Wrinkle in Time the right source material through which to tell this story?
    • 79 Metascore
    • 90 Alissa Wilkinson
    It’s a beautiful and haunting film, and another examination of what makes us human from Garland.
    • 68 Metascore
    • 80 Alissa Wilkinson
    A quintessentially Aardman-esque stew of slapstick, homage, and wordplay so wry it barely (but always) misses being groan-worthy, Early Man is a gentle and modest reflection on how we have, from the very beginning, always needed to treat one another with kindness in order to survive.
    • 37 Metascore
    • 40 Alissa Wilkinson
    The Cloverfield Paradox has a great cast and an interesting setup, but it feels extremely — almost painfully — derivative of other science fiction films. It’s not nearly as good as its predecessors.
    • 35 Metascore
    • 40 Alissa Wilkinson
    Wherever it falls on the quality spectrum, the bigger, more concerning story here is that Proud Mary’s journey into the movie marketplace is a good example of how Hollywood still fundamentally doesn’t understand what to do with many movies starring black actors.
    • 90 Metascore
    • 70 Alissa Wilkinson
    For Anderson purists and couture aficionados, Phantom Thread is still a feast. But for many others, it’s likely to feel, at times, like it’s gotten a bit too bound up in its own stitching.
    • 40 Metascore
    • 30 Alissa Wilkinson
    The new third entry in the series isn’t interested in character development or logical storylines or anything resembling innovation. It’s lazy and limp and profoundly weird, and not in any meaningful way a “good movie.”
    • 63 Metascore
    • 60 Alissa Wilkinson
    The overstuffed Downsizing doesn’t totally work, but when it does, it’s fascinating.
    • 29 Metascore
    • 20 Alissa Wilkinson
    Bright pulls off the uncommon (and not at all admirable) hat trick of being confusing, boring, and vaguely insulting about the matters it wants to appear smart on. The movie is a case of reading the room very wrongly, then slapping a lot of violence and muddled mythology on top as a means of distraction.

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