Alison Willmore

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For 63 reviews, this critic has graded:
  • 31% higher than the average critic
  • 0% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 3.6 points lower than other critics. (0-100 point scale)

Alison Willmore's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Nomadland
Lowest review score: 10 Blumhouse's Fantasy Island
Score distribution:
  1. Positive: 31 out of 63
  2. Negative: 7 out of 63
63 movie reviews
    • 55 Metascore
    • 40 Alison Willmore
    They’re progressive, positive young women, and they’re tragically boring, which is less the fault of their woke makeover than the film’s conviction that it’s incompatible with conflict or distinct personalities.
    • 47 Metascore
    • 30 Alison Willmore
    It’s an adaptation without direction or purpose, with an unwieldy but deeply committed performance at its center. Hathaway looks to be having fun, at least. Someone should!
    • 91 Metascore
    • 90 Alison Willmore
    Time is an extraordinary documentary from director and artist Garrett Bradley, who didn’t make a film about Rich and her family so much as make one with them.
    • 80 Metascore
    • 80 Alison Willmore
    Shot in black-and-white with occasional accents of color, and given to camera-facing testimonials from characters around Radha’s neighborhood in a nod to Spike Lee, The 40-Year-Old Version feels like a ’90s indie throwback, loose and left raw at the edges, marked by an intimacy that can only come from drawing from the stuff of its multi-hyphenate creator’s life.
    • 72 Metascore
    • 80 Alison Willmore
    If Possessor ultimately feels more like a testament to its director’s excellent taste in influences than a film that entirely gels in itself, it’s still a thoroughly troubling watch.
    • 73 Metascore
    • 70 Alison Willmore
    On the Rocks isn’t a great movie, but it’s one overflowing with feelings that it tries to squash into something tidier.
    • 76 Metascore
    • 70 Alison Willmore
    This film is one of those exhilarating instances when Sorkin finds a context in which all of his well-established impulses that can be so annoying elsewhere — the self-righteousness, the straw men, the great men, the men who aren’t onstage but are nevertheless digging deep in their diaphragms to deliver their lines to the back row — actually work.
    • 76 Metascore
    • 60 Alison Willmore
    Ammonite is Winslet’s movie to shoulder, and she carries it as far as she can.
    • 79 Metascore
    • 70 Alison Willmore
    As a statement on a decade of consumerism, The Nest doesn’t have anything particularly new to say, but as a fable of familial dysfunction, it’s resonant and, yes, frightening, with nary a ghost in sight.
    • 97 Metascore
    • 100 Alison Willmore
    Through these characters, Zhao is able to examine the idea of wide-open frontiers without nostalgia or the need to pathologize the parts of our social structures that are eroding or have failed. Those shots of Fern, a tiny, determined dot out there on a stunning panorama, are breathtaking and elegiac. She is a woman eking out the life she wants to lead, a woman who has gone to look for America.
    • 66 Metascore
    • 50 Alison Willmore
    Mulan is a dour drag as a work of art and entertainment, an empty if occasionally impressive-looking spectacle propped up by some incredibly clunky writing.
    • 78 Metascore
    • 70 Alison Willmore
    In its constant asterisking of its own material, I’m Thinking of Ending Things feels like an artistic dead end, like the confession of someone who can only burrow deeper and deeper into himself instead of looking outward.
    • 65 Metascore
    • 70 Alison Willmore
    The most successful quality of the film is how close it keeps in spirit and haphazard style to the first two installments, and how it feels proudly unstuck in time.
    • 77 Metascore
    • 90 Alison Willmore
    There’s a resilient buoyancy running through The Personal History of David Copperfield that proves irresistibly moving by the end of its journey. Its protagonist weathers hardships and cruelties in addition to benefiting from acts of kindness, and yet he never loses his capacity to be fascinated by people, a quality that’s comforting without feeling cloying.
    • 40 Metascore
    • 40 Alison Willmore
    For a movie marking a week in which theaters are reopening, Unhinged feels a lot like a movie that would be best caught on cable someday.
    • 51 Metascore
    • 40 Alison Willmore
    The trouble with trying to push at the boundaries of the superhero genre isn’t that we’re out of material, it’s that imaginations are so limited that a film that starts with a twist on a familiar premise nevertheless loops around to a standard showdown involving an incoherent blur of computer generated effects.
    • 84 Metascore
    • 80 Alison Willmore
    McBaine and Moss are the team behind 2014’s The Overnighters, a wrenching film about the North Dakota oil boom, and they’re interested in something beyond the contrast of adolescent faces and grown-up topics — or, for that matter, serving up simple optimism about Gen Z when taking in these young men at the cusps of their political lives.
    • 57 Metascore
    • 60 Alison Willmore
    As a thriller, The Burnt Orange Heresy is entirely underwhelming, but that doesn’t mean it isn’t worth watching.
    • 58 Metascore
    • 70 Alison Willmore
    When it works, which it does most of all in its opening and closing acts, it’s because it manages to give a surprising emotional solidity to what’s otherwise a whimsical premise.
    • 82 Metascore
    • 70 Alison Willmore
    As a film, it’s warm and beautiful without being sentimental about the temporary intimacy that alcohol can provide, creating bonds that can dissolve in the daylightlike haze but are no less legitimate in the moment for it.
    • 83 Metascore
    • 80 Alison Willmore
    Palm Springs would have been a scream and likely a word-of-mouth hit in theaters, but maybe there’s something fitting about its going straight to streaming in the middle of a pandemic. What is quarantine, anyway, if not waking up and going through the same routine over and over without end?
    • 47 Metascore
    • 10 Alison Willmore
    Irresistible isn’t just shockingly ineffectual in its insights into national schisms — it is, in an added betrayal, unfunny, requiring its audience to slog their way through so much laborious farce without a laugh in sight.
    • 77 Metascore
    • 70 Alison Willmore
    If there’s a complaint to be made about it, it’s only that it feels like another sign of a stylistic trend that’s inexorably cohering, as seen in other recent (and enjoyable!) work like Emerald Fennell’s "Promising Young Woman" and like "Killing Eve," a show Fennell wrote for and that Murphy has directed episodes of.
    • 31 Metascore
    • 10 Alison Willmore
    The movie is so charmless and hopelessly incoherent that you might feel the need to consult Wikipedia afterward for some help on what it was even about.
    • 67 Metascore
    • 50 Alison Willmore
    The King of Staten Island shrinks Davidson down a little too much, to the point where his pathos and humor doesn’t blend with but actively gets obscured by his immaturity.
    • 76 Metascore
    • 70 Alison Willmore
    An interestingly woozy new film.
    • 84 Metascore
    • 90 Alison Willmore
    It’s an homage to radio dramas, maybe, but also works as a reminder that while film is a visual medium, sometimes sound can be enough to sustain you. It’s a sound, after all, that opens up the cloistered world that Everett and Fay are living in, exposing them to something terrible and awe-inspiring and new.
    • 78 Metascore
    • 80 Alison Willmore
    A deliciously absorbing documentary.
    • 43 Metascore
    • 30 Alison Willmore
    The best part of Scoob!, a computer-animated reboot of the Scooby-Doo franchise, is the part in which the movie painstakingly recreates the opening credits of the original series.
    • 46 Metascore
    • 30 Alison Willmore
    The problem with Capone isn’t that it’s an unconventional biography or a challenge to the image of a famous figure. It’s that it’s not bold enough on either of those fronts.

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