Allison Shoemaker

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For 51 reviews, this critic has graded:
  • 52% higher than the average critic
  • 1% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Allison Shoemaker's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Tale
Lowest review score: 16 Fifty Shades Darker
Score distribution:
  1. Positive: 32 out of 51
  2. Negative: 6 out of 51
51 movie reviews
    • 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.
    • 75 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.
    • 82 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.
    • 65 Metascore
    • 50 Allison Shoemaker
    It’s not that the film doesn’t have an opinion on Lewan, it’s that the opinion seems to change every few scenes.
    • 77 Metascore
    • 91 Allison Shoemaker
    Robbie has been great in many films, including some pretty bad ones (what’s up, Suicide Squad), but she’s outstanding here.
    • 81 Metascore
    • 83 Allison Shoemaker
    It’s imperfect and gorgeous, and even if it is a dark movie, it’s one I can’t wait to see again. Being confronted with one’s own mortality is a small price to pay for something this good.
    • 45 Metascore
    • 50 Allison Shoemaker
    It’s better than you may expect, a mostly tolerable movie made occasionally enjoyable by a few lively performances, one good fight sequence, and a solid punchline or two.
    • 71 Metascore
    • 75 Allison Shoemaker
    Wonderstruck is full of ache and of loss, and each stings just a little differently. The ache of a movie-that-could-have-been stings less than the rest, but it’s there, and more’s the pity.
    • 66 Metascore
    • 67 Allison Shoemaker
    Boseman, wildly charismatic, captures Marshall as a magnetic figure, and his drive and fervor are intoxicating.
    • 73 Metascore
    • 75 Allison Shoemaker
    If Battle of the Sexes is more than a little slight in places, it more than makes up for its shortcomings through sheer entertainment value.
    • 76 Metascore
    • 75 Allison Shoemaker
    For the majority of its runtime, Stronger manages to escape the traps that populate such films. It’s worth seeing, and worth your investment. Let’s just hope that next time around, Pollono and Green find a way to stick the landing.
    • 71 Metascore
    • 67 Allison Shoemaker
    While the ride is often entertaining and the performances mostly satisfying, it’s a frustrating experience, like watching the journal of the least self-aware person you’ve ever met come to vivid, whining life.
    • 81 Metascore
    • 75 Allison Shoemaker
    Step may be a touch too glossy, and unusually, a bit too short, but its power is undeniable.

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