Alison Willmore

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For 7 reviews, this critic has graded:
  • 57% higher than the average critic
  • 0% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 3 points lower than other critics. (0-100 point scale)

Alison Willmore's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 90 The Lighthouse
Lowest review score: 40 Paradise Hills
Score distribution:
  1. Positive: 3 out of 7
  2. Negative: 0 out of 7
7 movie reviews
    • 51 Metascore
    • 70 Alison Willmore
    Sometimes you just have to let yourself be a sucker for the obvious — whether it’s for a holiday movie, a ridiculous romance, or an awkwardly grafted-on but very timely theme.
    • 50 Metascore
    • 40 Alison Willmore
    It’s a carefully crafted world of hyperfemininity intended to be as ominously smothering as it is pretty, and if the story that Paradise Hills, the directorial debut of Spanish filmmaker Alice Waddington, told were as sharp as its visuals, it’d have a guaranteed future as a cult classic. Instead, it’s a disappointingly half-baked riff on The Stepford Wives whose brand of feminism feels more 1970s than 2010s.
    • 61 Metascore
    • 50 Alison Willmore
    Nothing about the film is especially coherent, including its simultaneous status as a piece of art, a gesture of religious conviction, and a shameless act of commerce. It feels like notes from an artist who’s not sure if he wants to express himself as a worshiper or an object of worship — but who’s prepared to give it a try anyhow, on the biggest screen possible.
    • 57 Metascore
    • 60 Alison Willmore
    Frankie is a messy movie that spreads itself too thin over this sprawling cast of characters.
    • 83 Metascore
    • 90 Alison Willmore
    The Lighthouse is such an effective exercise in projecting claustrophobia, in both a physical and psychological sense, that it’d be unbearable to watch if it weren’t so funny. Thankfully, it’s a scream.
    • 56 Metascore
    • 40 Alison Willmore
    The sequel is a string of callbacks and remember-this moments that ask an awful lot of something whose charms and cultural impact were modest at best — a feature-length effort at congratulating the audience for having shown up for the original film a decade ago.
    • 62 Metascore
    • 75 Alison Willmore
    [Shyamalan] still knows how to manipulate an audience with an original story, and with “Split,” we don’t mind him pulling the strings again.
    • 81 Metascore
    • 60 Alison Willmore
    The film also comes across like a rough cut that was never looked at as a coherent whole, and some segments that start off as promising become interminable while others feel entirely unnecessary. There's no pressure on or expectation for Tarantino to please anyone other than himself, and the film feels overstuffed with ideas that should have been pruned.
    • 63 Metascore
    • 60 Alison Willmore
    Even at a generous running time that matches this season's other giant award candidates, Les Misérables seems like it's in a hurry, skittering from one number to the next without interlude. After Hathaway's early high point, it starts to feel numbing, an unending barrage of musical emoting carrying us through Valjean's adopting of Cosette, the latter's first encounter with Marius, the battle at the barricade and a last hour that can feel like it's a non-stop series of death arias.
    • 95 Metascore
    • 90 Alison Willmore
    Zero Dark Thirty makes you feel every step of Maya's journey, but it's her impressive achievement and that of the film itself that we're left contemplating, not her humanity - a stunningly well-realized whole with few soft spots to latch onto.
    • 45 Metascore
    • 70 Alison Willmore
    This variation on the demon child subgenre has enough of the familiar and the new to be a decently good time at the movies.

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