Alissa Wilkinson

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For 219 reviews, this critic has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 3.3 points higher than other critics. (0-100 point scale)

Alissa Wilkinson's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Driveways
Lowest review score: 10 The Happytime Murders
Score distribution:
  1. Negative: 13 out of 219
219 movie reviews
    • 89 Metascore
    • 100 Alissa Wilkinson
    Dick Johnson Is Dead suggests that learning to confront reminders of death, to even conjure them for yourself and examine them closely, takes some of the sting out of death and replaces it with love. To love someone is to accept that one day, death will part the two of you. The pain of knowing that is built into the act of loving. But we go on loving anyway.
    • 69 Metascore
    • 60 Alissa Wilkinson
    There’s a chilliness to Tenet that I haven’t felt in his previous work. The stakes, presumably, couldn’t be higher — both onscreen and offscreen — but after watching the movie, I don’t understand why I was meant to care. As an intellectual exercise, Tenet is very interesting, if not entirely successful. As a movie, I’m not so sure.
    • 84 Metascore
    • 80 Alissa Wilkinson
    In using all those technical aspects of filmmaking to tell this story, director Andrew Patterson manages to marry form and content beautifully. The tale is engrossing, reminding us that even the simplest technologies we take for granted now have an element of magic to them.
    • 69 Metascore
    • 70 Alissa Wilkinson
    Taken together, the movies are a meditation on middle age and mortality, on how our irrevocable life choices, even when they’re the right ones, will haunt us for the rest of our lives.
    • 59 Metascore
    • 60 Alissa Wilkinson
    Rae and Nanjiani are terrific comedians whose wisecracks and antics are thoroughly entertaining, so even if you know what the ending of The Lovebirds will be, it’s great fun watching them get there.
    • 78 Metascore
    • 90 Alissa Wilkinson
    By the time the breathtaking final moment arrives, we have learned, a little better, how to really look at the world, as a lover of both beauty and the strange bits of ourselves that make us really human.
    • 83 Metascore
    • 100 Alissa Wilkinson
    Driveways is surprising at every turn. It’s a modest and gentle story about a boy who feels out of place, and the weak ties he forms that gradually become strong ones.
    • 66 Metascore
    • 60 Alissa Wilkinson
    It’s not a puff piece, but it also doesn’t contain any big revelations.
    • 79 Metascore
    • 80 Alissa Wilkinson
    South Mountain suggests that the moments that break us can also give us the space and excuse to grow and re-mold ourselves in new ways. There’s joy in those broken spaces.
    • 79 Metascore
    • 100 Alissa Wilkinson
    It’s one of the best, most gripping, and smartest films of 2020.
    • 79 Metascore
    • 90 Alissa Wilkinson
    Where the film really sings — aside from its often darkly funny writing and surprisingly thrilling take on what could have been a dull bureaucratic scandal — is in tracing the effects of the pressures placed on administrators and faculty.
    • 75 Metascore
    • 80 Alissa Wilkinson
    Kurzel favors stylized images and the occasional anachronistic metal track to provoke a mood more than faithfully recreate history. And his approach works well in this film, bolstered by a strong cast, which features MacKay, Russell Crowe, Nicholas Hoult, Charlie Hunnam, Thomasin McKenzie, and Essie Davis.
    • 73 Metascore
    • 80 Alissa Wilkinson
    Slay the Dragon isn’t a glorified PowerPoint presentation about the history of voting. It’s an unabashed activist documentary aimed at convincing viewers they can fight gerrymandering in their home states.
    • 65 Metascore
    • 80 Alissa Wilkinson
    Chilly, precisely designed scenes make for a sharp juxtaposition with images of blood, violence, and birth. And the feeling that something very wrong is going on here is inscribed into every exacting, unnerving shot.
    • 64 Metascore
    • 70 Alissa Wilkinson
    Though it verges on the overstuffed at times, Vivarium is dirty, sinister, hair-raising, and thoroughly entertaining — and completely worth a watch if you’re feeling a little, well, trapped.
    • 73 Metascore
    • 70 Alissa Wilkinson
    Somehow it works — probably because The Platform commits to its conceptual framework so thoroughly, and with such precision, that it coaxes the audience to do the same. Its vivid images are designed to imprint on your brain.
    • 66 Metascore
    • 70 Alissa Wilkinson
    Movies like this one are just looking for an audience with whom they’ll resonate. And the seriousness of The Way Back — its unwillingness to take the easy road, and Affleck’s total commitment to letting his personal rawness inform performed pain — should ensure those audiences find what they’re looking for.
    • 61 Metascore
    • 70 Alissa Wilkinson
    It’s better than most of the entertainment aimed at children that studios churn out these days.
    • 54 Metascore
    • 50 Alissa Wilkinson
    On a number of occasions, the film veers close to succeeding. At times it’s evocative and touching. But it’s also heaped high with ideas about the magic of stories and the importance of recapturing your sense of wonder, which don’t really add up to much in the end.
    • 71 Metascore
    • 80 Alissa Wilkinson
    This new Emma doesn’t play too fast and loose with the story or its most familiar beats, but it digs out the absurdities of being wealthy (or adjacent to wealth) around the turn of the 19th century — the affectations, the frills that cover up the crudeness of real life, and above all, the vast, unmitigated boredom.
    • 83 Metascore
    • 70 Alissa Wilkinson
    Zinging between humor and poignance with a lot of charm, it achieves in its most insightful moments what comedy does best: Let us laugh at the world a little, by way of learning something about ourselves.
    • 73 Metascore
    • 60 Alissa Wilkinson
    It’s both interesting and sometimes a little dull, which seems to be by design.
    • 86 Metascore
    • 70 Alissa Wilkinson
    Crip Camp is buoyant and inspiring, a tale of people working together through difficulty and opposition to change the world.
    • 82 Metascore
    • 80 Alissa Wilkinson
    The film is a beautifully empathetic work of art.
    • 32 Metascore
    • 50 Alissa Wilkinson
    It’s literally incredible. I hope I never see it again.
    • 53 Metascore
    • 30 Alissa Wilkinson
    The Rise of Skywalker falls somewhere between an overstuffed fan-service finale and a yawnfest. If The Force Awakens kicked off a new cycle in the franchise and The Last Jedi set it up to push beyond its familiar patterns, The Rise of Skywalker for the most part runs screaming in the other direction.
    • 68 Metascore
    • 40 Alissa Wilkinson
    If we learn anything from the story in Richard Jewell, it’s that truth is truth, whether or not it fits your pet narrative. So either the movie fails at understanding its own message, or it flat-out lies. What a disappointing way to undermine your own valid point, in a movie that’s otherwise well-acted and competently filmed.
    • 74 Metascore
    • 80 Alissa Wilkinson
    It’s a subversive and powerful way to retell the Bonnie and Clyde myth for a new era — but also to reexamine what that myth has meant (something that Thelma and Louise’s feminist retelling did as well).
    • 64 Metascore
    • 60 Alissa Wilkinson
    Frozen 2 is still a plenty enjoyable film, even if it lacks its predecessor’s subversive spark. But for me, watching generative and derivative nostalgia spar within it prompted a different sense of the familiar: bleakness about the future of mouse-eared entertainment.
    • 57 Metascore
    • 60 Alissa Wilkinson
    The Laundromat is unwieldy at times, and its final scene is truly befuddling. But it’s worth watching not just for its bitterly entertaining explanation of a densely confusing matter but also the way it illustrates a larger problem.

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