Alison Willmore

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For 138 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: 71 out of 138
  2. Negative: 15 out of 138
138 movie reviews
    • 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.
    • 74 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.
    • 76 Metascore
    • 80 Alison Willmore
    The film is about the power of storytelling, and not in the cornball, self-congratulatory sense in which that phrase is normally deployed.
    • 58 Metascore
    • 70 Alison Willmore
    To watch director Justin Lin, who returned for F9 and the two subsequent films that will close the series out, wind things back to the start is to feel blessed relief that this improbably good gearhead daddy-issues opera may very well stick its landing.
    • 71 Metascore
    • 60 Alison Willmore
    Luca is so intent on meaning something that it only ever halfway inhabits the delightfully colorful world it lays out. We never get a deeper understanding of the history between the sea monsters and the humans beyond some hints that there has been far more interaction than Luca was raised to believe.
    • 28 Metascore
    • 10 Alison Willmore
    Infinite feels like a depressing fable about the movie industry.
    • 75 Metascore
    • 70 Alison Willmore
    It feels like a fist that won’t close, its elements never intentionally coming together.
    • 53 Metascore
    • 40 Alison Willmore
    It’s not Chaves’s takeover that makes this new film feel like it runs off the rails — it’s the choice to shift focus from a haunting to a murder.
    • 41 Metascore
    • 40 Alison Willmore
    There is something endearing about watching a high-end cast and crew treat this material with such seriousness, even if they all seem to have missed the point. Sometimes schlock is just schlock, and it’s better off treated that way.
    • 67 Metascore
    • 40 Alison Willmore
    Aja knows what sort of product he is turning out and does it ably, if without much excitement, as though understanding he is filling a hole in a lineup. It’s actually Laurent, who is too classy to be here, who doesn’t entirely grasp the assignment. She keeps overreaching, giving her cutout character shows of realistic emotion that the film she is appearing in can’t support.
    • 40 Metascore
    • 40 Alison Willmore
    While Here Today never works, there is a confessional quality to it that makes it intermittently interesting. It’s the movie equivalent of someone telling what they think is a funny anecdote, but that instead comes out as an inadvertent glimpse into their soul.
    • 87 Metascore
    • 90 Alison Willmore
    At the age of 78, Andersson continues to make films that desire to capture no less than a grand sense of human existence — and that somehow achieve it. Here’s hoping this one isn’t his last.
    • 41 Metascore
    • 10 Alison Willmore
    Without Remorse is awful — an incoherently shot, grindingly dull movie in which just about every actor manages to seem miscast.
    • 82 Metascore
    • 70 Alison Willmore
    Agrelo steers clear of the straight-up hagiography that plagues so many docs framed as tributes to their subjects.
    • 63 Metascore
    • 40 Alison Willmore
    COVID has proven a difficult subject for fiction, but In the Earth feels as though it sets up an emotional parallel that it doesn’t follow through on, abandoning the virus as a backdrop for a horror story that’s slapdash and never very creepy. It’s another instance of pandemic cinema that feels as if it could use more distance to figure out what it wants to say.

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