Alison Willmore

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For 121 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 3.5 points lower than other critics. (0-100 point scale)

Alison Willmore's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Little Women
Lowest review score: 10 Tom Clancy’s Without Remorse
Score distribution:
  1. Positive: 61 out of 121
  2. Negative: 14 out of 121
121 movie reviews
    • 54 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.
    • 84 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.
    • 69 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.
    • 75 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.
    • 89 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.
    • 68 Metascore
    • 60 Alison Willmore
    By the time the final act rolls around, Lamb approaches the idea that there’s a price that must be paid with a shrugging diffidence rather than impending doom. It’s such an underwhelming conclusion to a film with such a compelling start.
    • 49 Metascore
    • 30 Alison Willmore
    It’s so obviously shaped by fan response that it feels like the movie equivalent of someone who went viral online and now can only repeat themselves to diminishing returns in an attempt to hawk merch while they can.
    • 87 Metascore
    • 80 Alison Willmore
    Washington manages the near-impossible feat of delivering his lines as though he’s putting the words together in the moment, speaking some of the most famous sentences in the English language as though they’re actually being dredged up out of Macbeth’s roiling consciousness.
    • 55 Metascore
    • 40 Alison Willmore
    The Eyes of Tammy Faye, which was written by Abe Sylvia, is unable to decide if it wants to understand its subject or make fun of her, and ends up never really committing to either.
    • 76 Metascore
    • 90 Alison Willmore
    Diana, with her glamorous gowns and her taste for fast food, may be forever too much and not enough, but Spencer is just right.
    • 74 Metascore
    • 70 Alison Willmore
    Being the hero of the story has never looked so poisoned, and that alone is thrilling enough to hope Villeneuve gets to make part two of this impressively batshit venture.
    • 77 Metascore
    • 90 Alison Willmore
    What makes The Card Counter so delicious, aside from the Mad Libs quality of the way it connects card playing and government-sanctioned torture, is that the movie undermines the Spartan swagger of William’s half-existence as often as it basks in it.
    • 71 Metascore
    • 50 Alison Willmore
    Shang-Chi and the Legend of the Ten Rings may give us the franchise’s first Asian American superhero, but what may be the most Asian American thing about it is the way it’s caught between the legacy of its forebears and a still-developing sense of self, its protagonist yanked away from that journey and enlisted as the face of the latest representational win, without ever seeming entirely decided on what he’s representing.
    • 46 Metascore
    • 50 Alison Willmore
    Reminiscence is the damnedest thing — a movie filled with promising concepts it doesn’t get around to exploring, because it’s dedicated to a romantic mystery that’s never very romantic or mysterious
    • 46 Metascore
    • 60 Alison Willmore
    We love charismatic murders and compelling monsters, but it’s always a little more comfortable to love them when they appear to be acting for good. The best thing about Don’t Breathe 2 is the way it constantly undermines that comfort, as though demanding we question the desire to assign hero and villain roles at all.
    • 75 Metascore
    • 80 Alison Willmore
    While a little sentimentality never hurt anyone, what stands out when revisiting CODA outside the festival bubble are the parts that feel unguided by formula, all of which have to do with the dynamics of the Rossi family.
    • 66 Metascore
    • 80 Alison Willmore
    Swan Song is a tremendously tender love letter to someone who survived so many of the slings and arrows that accompanied being an openly gay man in a small, conservative area.
    • 60 Metascore
    • 80 Alison Willmore
    Stillwater is the new movie from director Tom McCarthy, and it feels like one he’s spent his career preparing for — an enthralling, exasperating, and, above all else, ambitious affair that doesn’t soften or demand sympathy for its difficult main character but does insist on according him his full humanity.
    • 85 Metascore
    • 90 Alison Willmore
    The Green Knight is about someone who keeps waiting for external forces to turn him into the gallant, heroic figure he believes he should be. But at the film’s heart is a lesson that’s as timeless as any legend — travel as far as you like, but you’ll never be able to leave yourself behind.
    • 55 Metascore
    • 50 Alison Willmore
    Old
    Shyamalan . . . feels caught between the more emotionally considered movies he used to make, and the leaner, meaner ones he’s done more recently. His filmmaking can’t make up for the fact that Old is hovering indecisively between the two halves of his career, unable to commit to either direction.
    • 79 Metascore
    • 70 Alison Willmore
    Roadrunner may have been made too soon, and made with a misguided approach in mind, but in its closing moments, it manages a sudden magnificence in affirming that there’s no right way to mourn. Grief, in all of its ugly reality, is a part of life too, and there’s no tidying it up for the camera.
    • 67 Metascore
    • 60 Alison Willmore
    That it feels like it’s half at war with its title character, bringing her firmly to Earth (until she, like Bond in Moonraker, has to make her way to a high-altitude villain’s lair) and insisting on emotional coherence from her personal history, is its most interesting quality, though it’s maybe not as revolutionary as it first seems.
    • 67 Metascore
    • 80 Alison Willmore
    Fear Street Part 1: 1994 is a nasty, effective slasher.

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