Allison Shoemaker

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For 60 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Allison Shoemaker's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Tale
Lowest review score: 16 Fifty Shades Darker
Score distribution:
  1. Positive: 38 out of 60
  2. Negative: 6 out of 60
60 movie reviews
    • 75 Metascore
    • 83 Allison Shoemaker
    It’s all well-trod territory. And yet — and here’s another cliché — The Mustang breathes new life into most of those conventions, thanks in no small part to Schoenaerts and his remarkable work.
    • 59 Metascore
    • 63 Allison Shoemaker
    Inflate its profundity, and you’re part of the joke; Dismiss its pleasures and layers, and you’ll miss a strange and sometimes rewarding experience.
    • 64 Metascore
    • 75 Allison Shoemaker
    There are touches of the freshness that percolated through Black Panther and Thor: Ragnarok, two films that brought new points of view, loads of promise, and no small amount of political and social resonance to the MCU, but only a little of the sense of newness and boldness that Ryan Coogler and Taika Waititi’s films had in abundance.
    • 53 Metascore
    • 75 Allison Shoemaker
    Those who follow it down its strange little alley will be rewarded with beautiful music, Isabelle Huppert, and a table-flip for the ages. See it with your mom. It’ll be weird. That’s what Greta would want.
    • 37 Metascore
    • 42 Allison Shoemaker
    Serenity is often stylish. It is never, ever dull. It is also deeply stupid.
    • 66 Metascore
    • 75 Allison Shoemaker
    That said, Marshall is particularly well-served by Blunt and Miranda, who seem to be having such a good time together — both as characters, and as two movie starts making a sequel to a freaking classic in really cool getups — that even when floating through the sky on the tail of a balloon looks kind of dull, their charms are nearly impossible to resist.
    • 60 Metascore
    • 67 Allison Shoemaker
    If you walk into Mary Queen of Scots looking to be dazzled by some great performances and rich art direction, you’ll walk out satisfied, no question. If you want something more than that, it’s likely the reaction will be more mixed.
    • 90 Metascore
    • 100 Allison Shoemaker
    Like the women who populate its halls, it might be easy to see The Favourite as only one thing, to reduce it to one quality, but it contains multitudes. And like its three central characters, you underestimate it at your peril.
    • 52 Metascore
    • 42 Allison Shoemaker
    Good actors can’t make up for narrative inconsistency. Beasts can’t erase the frustration of seeing characters you love behave in ways that make no sense. One can forgive retconning backstory where it doesn’t belong if it feels true to the fictional world you love. That doesn’t happen here.
    • 43 Metascore
    • 42 Allison Shoemaker
    Because it’s Claire Foy’s turn, The Girl in the Spider’s Web cannot honestly be called a colossal waste of time. It’s merely a moderate waste.
    • 87 Metascore
    • 83 Allison Shoemaker
    Its moments of creativity and daring, while effective and elevating, never even approach the audacity of the subject on which they center, and it’s easy to wish that Heller had pressed down a bit more firmly on the gas. But the overall effect is so simply pleasing, the performances so honest and engaging, and the story, frankly, so worthy of an earnest what the fuck? that it’s hard to work up the steam for any kind of complaint. It all works, and works well.
    • 76 Metascore
    • 91 Allison Shoemaker
    The master stroke of The Price Of Everything is that it asks the viewer, in Cappellazzo’s words, to see the intricacies of the art world and the way those two seemingly oppositional forces — the financial side and the creative side — are inextricably intertwined.
    • 81 Metascore
    • 83 Allison Shoemaker
    This is a film that’s tense from its earliest moments and tragic shortly thereafter, but never does it feel gratuitously punishing.
    • 67 Metascore
    • 83 Allison Shoemaker
    If Double Indemnity were a hangout movie, this would be its sequel. It’s delicious.
    • 71 Metascore
    • 75 Allison Shoemaker
    Lenz’s frank, admiring approach adds a sense of clarity that gives the film an undeniable potency. Here is what she made, it says; is it not wondrous? Here is the hand she was dealt, it says; is it not unjust?
    • 29 Metascore
    • 42 Allison Shoemaker
    It’s a shame, because Garner’s herculean efforts throw the film’s sloppiness into even sharper relief. Like Keanu Reeves, Garner has a gift for making every kick, punch, bullet, and desk dropped on someone’s head feel like a spontaneous decision.
    • 85 Metascore
    • 88 Allison Shoemaker
    In Andrew Bujalski and Regina Hall’s extremely capable hands, empathy becomes as active and compelling as any car chase, sword fight, or knock-down, drag-out fight. A simple thing, yes, but one well worth a valiant battle.
    • 60 Metascore
    • 67 Allison Shoemaker
    Mamma Mia! Here We Go Again is one of the most batshit crazy pieces of outright nonsense this writer has ever had the pleasure of encountering, and while calling it an excellent film would be going way too far, I enjoyed every single goddamn second of it.
    • 65 Metascore
    • 67 Allison Shoemaker
    Clemons’ performance is a subtle, warm wonder.
    • 61 Metascore
    • 67 Allison Shoemaker
    An Ocean’s film should steal the breath from your body. Instead, it’ll draw some sighs, some smiles, and fervent hopes for a sequel more worthy of its cunning, charismatic thieves.
    • 68 Metascore
    • 83 Allison Shoemaker
    Vivid is a good word at large, here. There’s a freshness and energy to American Animals.
    • 90 Metascore
    • 100 Allison Shoemaker
    Restraint and simplicity are words that can be applied to every performance in The Tale, and nearly all of those performances are excellent.
    • 74 Metascore
    • 83 Allison Shoemaker
    The performances, like the film, are rich, layered things of tremendous feeling and complexity. The characters, like the film, are imperfect but well worthy of cherishing.
    • 76 Metascore
    • 75 Allison Shoemaker
    Shelton and Duplass may not stray very far from the path which, at the film’s outset, they seem likeliest to take, and not every moment along that path lands quite as well as it could. But like Bird’s score, Outside In knows how to take us from the outside and bring us, well, in.
    • 44 Metascore
    • 33 Allison Shoemaker
    Uprising plods around like the giant robots that occupy so much of its space, moving too quickly to let almost anything resonate emotionally, but not quickly enough to lend much of an adrenaline rush.
    • 72 Metascore
    • 83 Allison Shoemaker
    In making a light, easygoing, heartfelt teen rom-com with a gay kid at its center, Berlanti and company have made a top-tier example of a familiar form with one essential and very important difference.
    • 53 Metascore
    • 75 Allison Shoemaker
    This is Meg Murry’s movie, and while DuVernay’s visually stunning film may occasionally stumble, Reid does nothing less than soar.
    • 53 Metascore
    • 58 Allison Shoemaker
    When Lawrence plays to the cheap seats, the film comes to life. When she’s the blank slate expected of a spy thriller, it falters, because it doesn’t play as though she’s concealing or deceiving. It plays as though she’s empty
    • 31 Metascore
    • 16 Allison Shoemaker
    Give or take one excellent joke about the practical applications of handcuffs — delivered with expert awkwardness by Dakota Johnson, who remains the only moderately charming element of the trilogy — the film is as devoid of wit as it is of subtlety, and that combined absence, courtesy of screenwriter Niall Leonard, leads to some of its biggest unintentional laughs.
    • 54 Metascore
    • 50 Allison Shoemaker
    There’s a good movie hidden somewhere inside 12 Strong, probably tucked between the many explosions and the endless exposition. Unfussily directed by Nicolai Fuglsig, this is a film that’s all business.

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