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 12.6 points lower than other critics. (0-100 point scale)

Robert Wilonsky's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 The Squid and the Whale
Lowest review score: 0 Joe Dirt
Score distribution:
396 movie reviews
    • 46 Metascore
    • 50 Robert Wilonsky
    By offering up the feel-good, MGM-styled musical version, a movie you can hum along to, his biopic serves only as a giant question mark; why bother if you're going to excise the interesting and naughty bits.
    • 30 Metascore
    • 50 Robert Wilonsky
    There's nothing at all scary about White Noise, which goes bump in the night so often it's easy to mistake it for clumsy.
    • 58 Metascore
    • 50 Robert Wilonsky
    Buried somewhere in here, about 6 feet deep, is an intriguing premise.
    • 30 Metascore
    • 50 Robert Wilonsky
    Here's a bizarre hodgepodge of influences: "Kindergarten Cop" meets "Sound of Music," filtered through the Hulk Hogan movie "Mr. Nanny." The formula, by now so overused it's actually formless, is pure Disney
    • 34 Metascore
    • 50 Robert Wilonsky
    If the first movie played like a midseason TV pilot, its successor comes off like an extended episode of a generic sitcom.
    • 62 Metascore
    • 50 Robert Wilonsky
    The Interpreter dashes the suspense by talking the audience to death.
    • 53 Metascore
    • 50 Robert Wilonsky
    The heroes are villains, the villains are heroes, and in between are the innocents who become casualties in their wars waged in the names of morality and righteousness.
    • 68 Metascore
    • 50 Robert Wilonsky
    Is it enough to make us like a thing we used to love? For most, that rekindling of an old flame will be good enough.
    • 48 Metascore
    • 50 Robert Wilonsky
    It strains to be funny where the original's gags were efficiently deadpan, yet it's also so unbearably lazy, stooping to cliché and caricature when it backs itself into the shower.
    • 57 Metascore
    • 50 Robert Wilonsky
    As Frank, a widower who falls for his son's conniving would-be girlfriend (Maggie Gyllenhaal), Arnold is a revelation.
    • 65 Metascore
    • 50 Robert Wilonsky
    Linklater, whose intimate "Before Sunset" was an art-house wonder last year, proved he could make mainstream money with "School of Rock." With Bad News Bears, he proves he can waste it, too.
    • 47 Metascore
    • 50 Robert Wilonsky
    Ultimately, the filmmakers build toward a reasonably satisfying "Twilight Zone" climax, only they crawl toward the ho-hum ending; the movie appears to have been written and edited in a swamp too.
    • 51 Metascore
    • 50 Robert Wilonsky
    Uou may choose to read My Date with Drew several different ways -- as endearing or frightening, as bleak or expectant, as the optimistic daydream of the naïve Everyman or the beginning of a problem that could only lead to a restraining order.
    • 51 Metascore
    • 50 Robert Wilonsky
    The best you can say of Asylum is that it plays like a topless "Twilight Zone."
    • 81 Metascore
    • 50 Robert Wilonsky
    Sometimes junk is junk, no matter how fancy the platter upon which it's served. Which isn't to say A History of Violence is useless junk. It provides a few pleasures and a few giggles; it's a comedy, after all, an action movie in which things unfold at a deadpan pace.
    • 45 Metascore
    • 50 Robert Wilonsky
    It's a mess, absolutely, more a collage than a narrative.
    • 58 Metascore
    • 50 Robert Wilonsky
    Younger, for whatever reason, simply can't abide their happiness, and so he destructs the relationship from time to time for no reason, using plot devices that wouldn't have been out of place in episodes of "Three's Company."
    • 90 Metascore
    • 50 Robert Wilonsky
    It reminds one of "The Constant Gardener," another globetrotting thriller bereft of thrills that looks more important in retrospect than on the screen. Certainly, one man's trash is another man's masterpiece, and more power to the viewer who can stick with this deadpan travelogue and make it to the ending that actually satisfies.
    • 72 Metascore
    • 50 Robert Wilonsky
    For all the affection Mangold feels for Cash and Carter, the movie feels oddly dispassionate.
    • 62 Metascore
    • 50 Robert Wilonsky
    It's a dark lark, no more and no less, a caper comedy full of enough kinky jokes to remind the audience that, indeed, you're supposed to laugh at it every now and again.
    • 81 Metascore
    • 50 Robert Wilonsky
    Jackson is merely indulging himself here, too, doing a thing not because he should but because he can. And maybe that's a good reason but not good enough. The girl still cries, the ape still dies and all you're left with is a ringing in your ears.
    • 72 Metascore
    • 50 Robert Wilonsky
    Match Point may well be a return to form but only for those who love "September" and "Interiors," movies populated by Bergman evacuees too inert and dreary to even crack a smile.
    • 53 Metascore
    • 50 Robert Wilonsky
    The real fault with this movie lies less with the clunky screenplay from Himelstein than with the acting, of which there is very little of note.
    • 54 Metascore
    • 50 Robert Wilonsky
    It works for a good while--probably half of the movie.
    • 59 Metascore
    • 50 Robert Wilonsky
    Overstuffed (three villains), overlong (at more than two hours and 20 minutes) and undercooked (plot points include amnesia and alien goo).
    • 56 Metascore
    • 50 Robert Wilonsky
    The Kingdom is essentially "C.S.I.: Riyadh," starring Jamie Foxx in yet another movie his Oscar statue will watch with shame.
    • 57 Metascore
    • 50 Robert Wilonsky
    Mostly dumb, no matter how desperately and even valiantly it aims for "thinky."
    • 49 Metascore
    • 50 Robert Wilonsky
    Ultimately, Hart's War can't decide what it is: treatise on racism, escape (and escapist) thriller or murder mystery. So it sits there -- and we sit there with it, waiting and waiting. And waiting.
    • 49 Metascore
    • 50 Robert Wilonsky
    The film desperately wants to play like "Three Kings," a war film with a guilty conscience, but it's too pat and familiar to earn its high-minded stripes.
    • 45 Metascore
    • 50 Robert Wilonsky
    When Affleck keeps getting work, the terrorists HAVE won. With blank eyes and soft features, he has none of the gravitas of his predecessors, Alec Baldwin and Harrison Ford, who saved the world with swagger. Affleck merely looks like a frat boy in over his head, which is perhaps the point.
    • New Times (L.A.)

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