Alissa Wilkinson

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For 262 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Alissa Wilkinson's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 First Reformed
Lowest review score: 10 The Happytime Murders
Score distribution:
  1. Negative: 15 out of 262
262 movie reviews
    • 82 Metascore
    • 90 Alissa Wilkinson
    Eggers recreated, with obsessive accuracy, the world of the medievals in order to lower us into a myth that feels primordial and strange, as if it’s tapping into something in the back of our minds that we’ve always known but half forgotten.
    • 78 Metascore
    • 90 Alissa Wilkinson
    Portraying a lie as the truth so forcefully, so unrelentingly, that people just believe it is a key to understanding Loznitsa’s portrait of the region.
    • 74 Metascore
    • 70 Alissa Wilkinson
    I stumbled into the night after Jackass Forever with aching cheeks from laughing, a sore derriere from sitting, and a little bit of gratitude to inhabit a planet with people who don’t mind being fools on purpose
    • 86 Metascore
    • 100 Alissa Wilkinson
    The movie captures the spirit of the novel well. It’s suspenseful, but it’s not a thriller; there are elements of obsession and eroticism, but they never quite go where you expect. The end is deeply ambiguous, neither punishing nor condoning its characters’ behavior. It simply asks us to sit with them — to pay them the respect of attention, and learn something about ourselves in the process.
    • 52 Metascore
    • 50 Alissa Wilkinson
    It’s a tonally strange movie from the get-go, masquerading as a typical holiday flick about long-lost friends getting together at the holidays but ending with mass extinction. Yay!
    • 49 Metascore
    • 50 Alissa Wilkinson
    For me, the bludgeoning tends to blunt the entertainment value.
    • 74 Metascore
    • 90 Alissa Wilkinson
    The film moves slowly at times, and that’s entirely on purpose. Cinema is primarily a visual medium, and Dune provides a terrific opportunity to lean in and experience what that really means.
    • 90 Metascore
    • 90 Alissa Wilkinson
    One of 2021’s best movies.
    • 91 Metascore
    • 100 Alissa Wilkinson
    By the end, it seems telling his story — saying it out loud in a safe space, at last — may have helped Amin heal a bit more. Perhaps sharing it with audiences opens the same space for others, too.
    • 89 Metascore
    • 100 Alissa Wilkinson
    Its rough-hewn, side-glancing characters are full of secrets and unspoken intentions, thinking thoughts it didn’t even occur to you to imagine are in their heads. It’s a gothic thriller wrapped in a Western. It’s outstanding.
    • 90 Metascore
    • 90 Alissa Wilkinson
    The film, which is structured as a series of set pieces that Alana and Gary stumble into and out of, is far too strange and specific and sometimes cringey to simply be made up, even by someone with as fertile an imagination as Anderson.
    • 59 Metascore
    • 70 Alissa Wilkinson
    House of Gucci is probably the funniest comedy and dopiest tragedy of the year. Everyone chomps on the scenery.
    • 85 Metascore
    • 90 Alissa Wilkinson
    The result is cool, elegant, and devastating, a film as tightly woven and plaintive as the source novel itself. It’s an artifact of its time, both 1929 and in 2021, when the questions around identity have morphed and shifted but are still relevant as ever.
    • 75 Metascore
    • 70 Alissa Wilkinson
    It’s become a lazy critical cliché to declare that a film is a love letter to a city or to the past or to cinema, but in this case it’s inescapable, and Belfast succeeds in passing that love along to us.
    • 90 Metascore
    • 100 Alissa Wilkinson
    In letting them retell those stories their way, and asking us to watch, Procession dares its audience to not look away. It calls us, in other words, to join the healing community, not just with vague aspirations but with our actual eyes. To play our roles as audience members and then take what we learn and bring it to others.
    • 68 Metascore
    • 70 Alissa Wilkinson
    No Time to Die exists to wrap up lots of plot lines — it feels, like 2019’s Avengers: Endgame, like the end of a cycle, a grand epic about sacrifice and the future of mankind. But it also gives us a Bond with more emotion and maybe even humanity than many of his predecessors seemed to possess.
    • 55 Metascore
    • 70 Alissa Wilkinson
    This exceptionally well-cast version of Tammy Faye’s story does manage to tap into a cultural moment with reverberations we continue to feel today.
    • 55 Metascore
    • 60 Alissa Wilkinson
    Old
    There is, indeed, an explanation — but I kind of wish there wasn’t. For most of Old, the sheer weirdness of the setup is what’s so compelling.
    • 36 Metascore
    • 30 Alissa Wilkinson
    To be fair, it’s not all unpleasant. The joyride through the Warner Bros. IP universe is not quite as soul-busting as the trailer led me to believe it would be, though I suspect it benefited only in comparison to my expectations.
    • 79 Metascore
    • 70 Alissa Wilkinson
    In resisting the urge to paint its subject as a saint, Roadrunner gives us something better: a human.
    • 96 Metascore
    • 100 Alissa Wilkinson
    It’s not just a blast to watch — and it truly is a blast. It’s another tiny step in reclaiming the full history of America, expanding the context of our present not just for people who remember the past, but people who never knew about it in the first place. We’re fools if we don’t think burying the era-changing import of events like these is as much a part of American history as the events themselves — and movies like Summer of Soul fight back bringing the past vibrantly to life.
    • 58 Metascore
    • 80 Alissa Wilkinson
    It might be the most perfect Hollywood summer blockbuster ever made. Not the best, mind you.
    • 71 Metascore
    • 70 Alissa Wilkinson
    The performances in A Quiet Place Part II make it very watchable, when combined with some heart-pounding action scenes that deploy the presence or absence of sound to ramp up the anxiety.
    • 84 Metascore
    • 80 Alissa Wilkinson
    The nervy electricity and joy of the film, arriving at this moment in time, is an unbeatable combo. It’s hard to imagine a movie-hungry audience returning to the theater and not being swept away.
    • 67 Metascore
    • 70 Alissa Wilkinson
    Despite its flaws, the film works because it’s not, in the end, contrived.
    • 59 Metascore
    • 70 Alissa Wilkinson
    What Godzilla vs. Kong lacks in narrative logic, it makes up in visual fun, even imagination. And that’s all too lacking in an industry dominated by movies that sacrifice imagery for story beats.
    • 52 Metascore
    • 70 Alissa Wilkinson
    Coming 2 America is really just a movie about how fun and great Coming to America was. It gives us another way to dance to the prior movie’s beat.
    • 85 Metascore
    • 90 Alissa Wilkinson
    Judas and the Black Messiah is galvanizing, with an intoxicating energy that makes the story beats land with a jolt.
    • 53 Metascore
    • 40 Alissa Wilkinson
    The movie is pretty to look at, and its stars are great. But here is the thing: It’s just really dull.
    • 83 Metascore
    • 80 Alissa Wilkinson
    The film has the feel of theater, focusing on conversation and subtle power dynamics rather than a lot of movement and action. But some nimble staging and stunning performances from all four of its lead actors make One Night in Miami pulse with energy.

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