Robert Wilonsky

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For 396 reviews, this critic has graded:
  • 31% higher than the average critic
  • 2% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 12.1 points lower than other critics. (0-100 point scale)

Robert Wilonsky's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Monsters, Inc.
Lowest review score: 0 The Sweetest Thing
Score distribution:
396 movie reviews
    • 50 Metascore
    • 30 Robert Wilonsky
    Should make about $750, which is how much they need to save the farm, but a little less than Disney CEO Michael Eisner needs to save his job.
    • 43 Metascore
    • 30 Robert Wilonsky
    Paycheck is a terribly muddled mess, a Hitchcock homage (with generous, obvious nods to The Birds, Strangers on a Train and North by Northwest) by a great filmmaker trying to say a great deal with so very little.
    • 39 Metascore
    • 30 Robert Wilonsky
    So convoluted and half-assed it's tempting to dismiss it as unfinished; it feels like six different movies cut together by a blind editor.
    • 46 Metascore
    • 30 Robert Wilonsky
    It has but one thing going for it: a cast filled with Oscar nominees.
    • 60 Metascore
    • 30 Robert Wilonsky
    Renders it a cross between "Three Men and a Baby" and "Monsters, Inc." But it's bereft of the charisma of the former and the energy of the latter; stuck in a frozen wasteland, it possesses all the vigor of a Popsicle.
    • New Times (L.A.)
    • 45 Metascore
    • 30 Robert Wilonsky
    Plays like something Dr. Phil and "Sex and the City's" Carrie Bradshaw might have written during a commercial break, a feel-good fantasy that sounds deep but has no more depth than a kiddie pool drained for winter.
    • 33 Metascore
    • 30 Robert Wilonsky
    Turns out some folks just don't know Philip K. Dick about making movies.
    • 41 Metascore
    • 30 Robert Wilonsky
    Adequately breezy and sleazy -- a movie about the horniest man in the universe looking for a little one-night stand.
    • 56 Metascore
    • 30 Robert Wilonsky
    It's time to run, screaming.
    • 45 Metascore
    • 30 Robert Wilonsky
    Its execution is stultifying, laughable and ultimately a little offensive.
    • 46 Metascore
    • 30 Robert Wilonsky
    Nothing happens. At all. Ever. Remember when Steve Martin was funny? Apparently, neither does he.
    • 51 Metascore
    • 30 Robert Wilonsky
    It's easily the ugliest film Gilliam's ever made, a movie shot with a lens someone forgot to wipe. It's also his loudest: Every scene is amped up to 11, and every line of dialogue is delivered as though it's a cry for help from the bottom of the well.
    • 48 Metascore
    • 30 Robert Wilonsky
    The movie, which feels as amateurish as a student film made for cable access, doesn't deliver the goods; the gotcha moment never comes.
    • 42 Metascore
    • 30 Robert Wilonsky
    Succeeds in scaring you and boring you at the same time; unlike Moore's movie, it's agitprop bereft of artistry, porn for Republicans.
    • 51 Metascore
    • 30 Robert Wilonsky
    Obnoxiously dull.
    • 22 Metascore
    • 20 Robert Wilonsky
    Andrew Litvack, whose inability to direct is outweighed only by his inability to write anything remotely witty, enlightening, or engaging. Calling this a farce would be, well, a farce.
    • 50 Metascore
    • 20 Robert Wilonsky
    Singleton's version is cynical and silly--one long set-up to a closing scene that promises, or threatens, a sequel.
    • 51 Metascore
    • 20 Robert Wilonsky
    Who wants to pay to see a movie so bad the actors and writer-director feel the need to keep reminding us of how bad it is?
    • 34 Metascore
    • 20 Robert Wilonsky
    This pallid little ditty, like the rest of Lance Bass and pals' oeuvre, is soulless, banal and derivative.
    • 36 Metascore
    • 20 Robert Wilonsky
    When the movie's not playing stupid, it's aiming for sickly sweet sincerity. It's such a jarring and inevitably juvenile juxtaposition it comes off like a Hallmark card parody written by the staffers at "Cracked."
    • 44 Metascore
    • 20 Robert Wilonsky
    Obnoxious, transparent cornball comedy.
    • 37 Metascore
    • 20 Robert Wilonsky
    Deafeningly dull movie.
    • 70 Metascore
    • 20 Robert Wilonsky
    A film built upon transitions so weak and obvious it's astonishing the entire thing doesn't collapse on itself.
    • 22 Metascore
    • 20 Robert Wilonsky
    Every movie Dugan releases looks like something made on accident--tosses yet another stink bomb into theaters for audiences to sniff over.
    • 24 Metascore
    • 20 Robert Wilonsky
    Full of conspiracies, all The Skulls lacks is a brain.
    • 52 Metascore
    • 20 Robert Wilonsky
    The film has no form or function; at best, it's a 90-minute infomercial.
    • 41 Metascore
    • 20 Robert Wilonsky
    Instead of satire, we're treated to diarrhea jokes, dogs dangled from the windows of speeding SUVs and tasteless sobriquets bestowed upon anyone who looks vaguely ethnic.
    • 46 Metascore
    • 20 Robert Wilonsky
    A movie that leaves you wondering what the fuss was all about when its end credits appear; it's a mish-mash of a dozen other, better films ground up and watered down--Seven, Silence of the Lambs, and Manhunter, to name a few of the usual suspects.
    • 45 Metascore
    • 20 Robert Wilonsky
    Proof of Life kidnaps the audience, then tortures it to a slow death
    • 24 Metascore
    • 20 Robert Wilonsky
    This limp gender-bender-baller from a first-time director and rookie screenwriter steals wholesale from that 1982's "Tootsie," forgetting only to retain a single laugh.
    • New Times (L.A.)

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