For 301 reviews, this critic has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 8.6 points lower than other critics. (0-100 point scale)

Robert Wilonsky's Scores

  • Movies
Average review score: 51
Highest review score: 100 Eternal Sunshine of the Spotless Mind
Lowest review score: 0 Road Trip
Score distribution:
  1. Negative: 82 out of 301
301 movie reviews
    • 74 Metascore
    • 80 Robert Wilonsky
    Rodriguez clearly assumes Sin City to be his "Pulp Fiction," his rambling portmanteau--a blending of disparate tales to form a complete, overwhelming epic.
    • 57 Metascore
    • 80 Robert Wilonsky
    It's bright and spry, giggly and bouncy, but also cuddly with occasional touches of cruelty--a movie in which best friends, when let loose in the wild, suddenly realize one's a little higher on the food chain.
    • 73 Metascore
    • 80 Robert Wilonsky
    The filmmaker who once aimed to enchant his audiences with cheerful stories of beatific visitors from outer space now wants only to scare the hell out of us. E.T., as it turns out, is a mass murderer after all, and we are his Reese's Pieces.
    • 72 Metascore
    • 80 Robert Wilonsky
    A celebration of the naughty joke and the courage it takes to tell one.
    • 66 Metascore
    • 80 Robert Wilonsky
    Scott and Olds' is an essential movie, and one of the year's very best.
    • 74 Metascore
    • 80 Robert Wilonsky
    It's but a witty, engaging hodgepodge of archetypes and clichés; it retreads not only the TV show's story lines, but also those of every "Star Trek" and "Gunsmoke" episode. It needed the room of a big screen just to fit all of its influences into a single place.
    • 63 Metascore
    • 80 Robert Wilonsky
    What makes Silverman a truly gifted comic is her timing and delivery.
    • 74 Metascore
    • 80 Robert Wilonsky
    My Kid Could Paint That's about art—and it IS art, among the best documentaries ever made about that elusive process of manufacturing something out of nothing. But it's also a must-see for every single parent who believes their children are special, when all they want to be is your children.
    • 60 Metascore
    • 80 Robert Wilonsky
    The Guys is less a tearing open of old wounds than a balm to be applied over them. It doesn't wallow. It doesn't weep.
    • 76 Metascore
    • 80 Robert Wilonsky
    If there's a flaw with the film, it's that Justman doesn't trust his narrators enough; too often he'll stage a re-enactment while someone's talking, as if he's afraid the mere tales themselves won't hold our interest. But they will, as long as there's a kid slapping a bass, a sampler swiping a groove or some middle-aged couple slow dancing to Marvin Gaye or the Miracles.
    • 64 Metascore
    • 80 Robert Wilonsky
    Altman gladly admits there's not much of a story here; his movies are driven by characters.
    • 71 Metascore
    • 80 Robert Wilonsky
    It's not hard to see why actors love working with Penn, even in the smallest roles; he lets them speak monologues even when they're saying nothing at all.
    • 64 Metascore
    • 80 Robert Wilonsky
    Northfork may be doomed, but the Polish brothers and cinematographer M. David Mullen (who worked with the brothers on their previous features, "Twin Falls, Idaho" and "Jackpot") make the place feel like heaven on earth.
    • 59 Metascore
    • 80 Robert Wilonsky
    Hoffman, though, is the real gas--the vet getting dopey and loopy and handsy because, hey, what the hell...The midnight cowboy rides again.
    • 77 Metascore
    • 80 Robert Wilonsky
    A remarkable movie, because, like "Crumb" or even "American Splendor," it adores the very people most of us might ignore if they passed us on the street. It's a love letter to someone who desperately needs one, even 10 years after his death.
    • 78 Metascore
    • 80 Robert Wilonsky
    Anderson and Sandler were meant for each other, and their romance is, unbelievably, our reward.
    • 55 Metascore
    • 80 Robert Wilonsky
    Charlie doesn't have a point, doesn't give a damn about giving a damn. It is what it is: a beautiful goof, a drunken supermodel in search of one more party before the sun comes up.
    • 68 Metascore
    • 80 Robert Wilonsky
    It's more like the déjà vu machine. But that does not negate this movie's copious pleasures, chief among them its prudent decision to act like it's never supposed to be more than good time, a thrilling test-drive in a car you love but can't afford to actually buy.
    • 62 Metascore
    • 80 Robert Wilonsky
    Willis gives a remarkable, wrenching performance: He is the most fragile indestructible man ever created.
    • 58 Metascore
    • 80 Robert Wilonsky
    Provides Hoffman with what he's long deserved: a movie of his own.
    • 76 Metascore
    • 80 Robert Wilonsky
    Breezy and easy to swallow. Its maker, Steven Spielberg, hasn't had so much fun in two decades.
    • 70 Metascore
    • 80 Robert Wilonsky
    It's hagiography, yes, but also powerful and poignant.
    • 70 Metascore
    • 80 Robert Wilonsky
    It just feels like the real thing, which is a trick few writers can muster and even fewer directors can master.
    • 90 Metascore
    • 80 Robert Wilonsky
    Capturing the Friedmans does not end after its credits roll; audiences will try the case over and over again in their heads. Jarecki does not judge, but leaves only tragic clues for us to ponder.
    • 73 Metascore
    • 80 Robert Wilonsky
    As enormously entertaining as it is appalling.
    • 62 Metascore
    • 80 Robert Wilonsky
    The movie is stirringly, thrillingly animated; Stander, as some say around Johannesburg, lives.
    • 70 Metascore
    • 80 Robert Wilonsky
    The movie works because Berg never forgets to keep his heart in the game and not just his head.
    • 75 Metascore
    • 80 Robert Wilonsky
    This Shrek is both funnier and warmer than its predecessor; it's better-looking, too, no longer as clunky and junky as video-game graphics.
    • 63 Metascore
    • 80 Robert Wilonsky
    Penn's lead performance is the main attraction here, and it's a fine piece of work--far superior to his overly showy Oscar-winning role last year.
    • 65 Metascore
    • 80 Robert Wilonsky
    It's a movie about discomfort and distance, like an episode of "Curb Your Enthusiasm" or "The Larry Sanders Show" shot in deadpan black-and-white.