Alison Willmore

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For 139 reviews, this critic has graded:
  • 33% higher than the average critic
  • 1% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 2.6 points lower than other critics. (0-100 point scale)

Alison Willmore's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Little Women
Lowest review score: 10 Tom Clancy’s Without Remorse
Score distribution:
  1. Positive: 72 out of 139
  2. Negative: 15 out of 139
139 movie reviews
    • 67 Metascore
    • 70 Alison Willmore
    What it is, really, is a showbiz satire about media ownership and our nostalgia fixation, though it muddles its message before the tone gets too scathing. It is, after all, still a Disney movie, even if it takes a perverse pleasure in playing around with Disney’s vast catalogue of characters.
    • 76 Metascore
    • 50 Alison Willmore
    Thyberg clearly set out to create a hysteria-free look at the industry, taking on the challenge of critiquing structural issues without casting judgments on the idea of having sex on camera. Pleasure succeeds at this, though not without a cost. It’s a clear-eyed treatment of porn wedded to a character study that never comes to life.
    • 74 Metascore
    • 70 Alison Willmore
    All of the miseries that are revealed as the two men go about their day may be bleak, but the humor comes from the small indignities inflicted on them even as they try to go out with a bang.
    • 93 Metascore
    • 100 Alison Willmore
    The mechanics of Sciamma’s film are simple, but they’re realized so delicately, and with the help of such unaffected child performances, that they feel miraculous.
    • 82 Metascore
    • 90 Alison Willmore
    The Northman doesn’t invite its viewers into its world, but instead dares them to try to catch up.
    • 47 Metascore
    • 30 Alison Willmore
    If the series was conceived as a way to hold on to the fans of the original books and movies who are now grown, what’s clear in practice is it’s a children’s story staggering to support a few ambitious and deeply underdeveloped themes.
    • 53 Metascore
    • 70 Alison Willmore
    More than anything, Aline feels like a kamikaze act of wish fulfillment, wildly indulgent but so deeply committed to what it’s doing that it can’t help but be compelling.
    • 79 Metascore
    • 50 Alison Willmore
    The film’s litany of details about growing up in the Houston area in the ’60s isn’t enveloping — instead, in its drone of vintage sitcom titles and reminiscences about fecklessly riding in the back of a pickup on the freeway to the beach, it feels, for the first time from Linklater, like a lecture about how things were better back then.
    • 81 Metascore
    • 90 Alison Willmore
    Everything Everywhere All at Once may be a kaleidoscopic fantasy battle across space, time, genres, and emotions, but it’s an incredibly moving family drama first.
    • 78 Metascore
    • 70 Alison Willmore
    X
    Like most of West’s films, X is not particularly ambitious in its psychology or storytelling. It’s his technique that makes his work feel like it has one foot in the arthouse, with its elegant compositions and the way the camera moves as though daring us to see something the characters have yet to spot.
    • 53 Metascore
    • 50 Alison Willmore
    Deep Water, which was written by Zach Helm (of Mr. Magorium’s Wonder Emporium) and Euphoria Svengali Sam Levinson, never creates any sense of internal coherence in its toxic main pair.
    • 83 Metascore
    • 90 Alison Willmore
    Effervescent and ridiculous and grounded in a pastel-shaded Toronto and the nearby throwback details of 2002, it has texture and specificity to spare, and the only person it cares to speak on behalf of is its 13-year-old heroine, Meilin Lee (Rosalie Chiang).
    • 67 Metascore
    • 50 Alison Willmore
    Like a lot of movies these days, Fresh feels like it was conceived through its themes first and then written to bolster those ideas, rather than from the perspective of character or story.
    • 79 Metascore
    • 100 Alison Willmore
    After Yang has the structure of a subdued mystery, though at its core it has no answers to these, or any, questions. Instead, it provides a slowly dawning and utterly devastating understanding of the hidden richness of its title character’s existence.
    • 61 Metascore
    • 50 Alison Willmore
    Dog
    Dog feels like it should have been bigger and braver, but by the end, it also feels as if it could have been improved by being much smaller, closing in until it was just a guy and a dog and some of the country’s most beautiful scenery. What else do you really need?
    • 79 Metascore
    • 80 Alison Willmore
    Kimi threads its increasingly tense interactions with a modern melancholy.
    • 51 Metascore
    • 60 Alison Willmore
    For all that it has been positioned as the comeback of the rom-com queen, Marry Me isn’t really a return to form for the genre. Instead, it aims to have things both ways, to have the glamour and the buoyant fantasy and to also be more textured in its treatment of its characters and their relationship.
    • 41 Metascore
    • 70 Alison Willmore
    It’s so unapologetically absurd and so very fun.
    • 55 Metascore
    • 60 Alison Willmore
    It has the air of a television-show fragment, and not just because its initial entanglement feels like the stuff of a pilot, something that has to be gotten out of the way to reach the actual premise. It’s also because it introduces characters who feel like they have storylines in the wings.
    • 83 Metascore
    • 90 Alison Willmore
    As is often the case with Hosoda, it’s the extracurricular details that make his work so moving, the textures of the everyday lives of his characters that become something larger and more profound when placed in contrast to the genre elements at the center of his story.
    • 40 Metascore
    • 40 Alison Willmore
    The 355 was directed by X-Men: Dark Phoenix’s Simon Kinberg, who wrote the script with Smash creator Theresa Rebeck, and he’s genuinely terrible with fight sequences, which is a real issue in a movie that has a lot of them.
    • 49 Metascore
    • 40 Alison Willmore
    It’s hard to think about who, exactly, is going to be moved to make changes to how they live their lives by Don’t Look Up, a climate-change allegory that acquired accidental COVID-19 relevance, but that doesn’t really end up being about much at all, beyond that humanity sucks.
    • 44 Metascore
    • 30 Alison Willmore
    The real sin of The King’s Man is its near-total lack of fun.
    • 70 Metascore
    • 50 Alison Willmore
    The film’s bursts of violence are genuinely bracing — a face bashed in, a skull shattered, and the signature act of animal mutilation performed by a carnival geek, a figure of abject degradation who haunts the film’s ill-fated protagonist. But for a pulpy tale of addiction and desperate lives on the fringes, Nightmare Alley is otherwise depressingly short on actual darkness and discomfort.
    • 76 Metascore
    • 70 Alison Willmore
    It plays like a movie-length bout of aversion therapy aimed at our instinctive fondness for motor-mouthed strivers with Mikey’s every small victory creating more dread.
    • 90 Metascore
    • 70 Alison Willmore
    Licorice Pizza — a movie as exasperating as it is delightful — could be described as an exploration of the unstable ground where Alana’s arrested development and Gary’s precociousness meet.
    • 59 Metascore
    • 50 Alison Willmore
    Gaga is wildly watchable in the role, broad but unwinking, an absolute scream, and the movie only really makes sense when it’s about her.
    • 90 Metascore
    • 80 Alison Willmore
    There’s a sealed-off quality to The Souvenir Part II that the first installment doesn’t have, a sense of surrendering to the idea that it’s possible to authentically portray only oneself — which may be true and may be a creative dead end. But even that turns out to be by design, something both the film and its protagonist can acknowledge and then escape.
    • 74 Metascore
    • 80 Alison Willmore
    It’s a romp, full of touches that go by almost too quickly to pick up on — I was partial to the strongman who plays a small but key role — but the lingering mood is unmistakably sad.
    • 81 Metascore
    • 90 Alison Willmore
    In its glimpse into the lives of partnered-up fictional directors, Bergman Island invites its viewer to guess how much it’s a reflection of Hansen-Løve’s actual relationship, while also acknowledging the gap between the art someone makes and the person they are.

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