Natalia Winkelman

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Film Threat, IndieWire, The New York Times
For 114 reviews, this critic has graded:
  • 28% higher than the average critic
  • 13% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 8.3 points lower than other critics. (0-100 point scale)

Natalia Winkelman's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Sky Is Everywhere
Lowest review score: 20 Distancing Socially
Score distribution:
  1. Positive: 46 out of 114
  2. Mixed: 54 out of 114
  3. Negative: 14 out of 114
114 movie reviews
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    • 61 Metascore
    • 70 Natalia Winkelman
    Money Shot: The Pornhub Story
    Here is a documentary that casts a clear eye on the offenses of an industry driven by capitalism while never losing sight of the workers whose safety and success should be that profession’s number one priority.
    • 61 Metascore
    • 80 Natalia Winkelman
    Petite Solange
    As Solange’s teenage woes bubble up and then cool to a simmer, Ropert reveals a knack for calibrating emotion. It can be agony to accept one’s parents as people with needs and faults all their own, and Ropert observes Solange’s coming-of-age lucidly and without judgment.
    • 65 Metascore
    • 50 Natalia Winkelman
    The Forger
    Peren is clever to favor mischief against a backdrop of gloom, but in doing so she draws a frustrating distance between her subject and the audience.
    • 64 Metascore
    • 60 Natalia Winkelman
    The First Step
    At once a story of legislative struggle and an admiring profile of a crusader, The First Step sometimes gets bogged down in bromides about community and common ground rather than unpacking the specifics of Jones’s approach and how it differs from his detractors’.
    • 83 Metascore
    • 100 Natalia Winkelman
    Huesera: The Bone Woman
    "Huesera" is the type of staggering supernatural nightmare that is as transfixing as it is terrifying.
    • 57 Metascore
    • 50 Natalia Winkelman
    Somebody I Used to Know
    The film lacks the indelible details and authentic feeling necessary to encode it in long-term memory. Indeed, soon after finishing the movie, it already feels far away.
    • 57 Metascore
    • 40 Natalia Winkelman
    Baby Ruby
    As moody and messy as its eponym, Baby Ruby aspires to demonstrate how postpartum psychosis can feel like a horror movie. It just fails to make the condition feel like a particularly convincing or cohesive horror movie.
    • 47 Metascore
    • 40 Natalia Winkelman
    The Mission
    One hopes that such access would yield new insights into the church. But as the events unspool, the film struggles to crystallize more than a handful of compelling points.
    • tbd Metascore
    • 70 Natalia Winkelman
    All Eyes Off Me
    Within this framework, Avishag’s wants and needs are not quite legible enough to trace a satisfying arc, but unspooling under the film’s stylish, judgment-free gaze, her interactions are alluring nonetheless.
    • tbd Metascore
    • 50 Natalia Winkelman
    Idina Menzel: Which Way to the Stage?
    We already know that Menzel can belt to the back row; a richer profile would have coaxed out a more intimate voice.
    • tbd Metascore
    • 50 Natalia Winkelman
    The Volcano: Rescue from Whakaari
    Once the ash settles, we long for insight, but only the trauma lingers on.
    • 51 Metascore
    • 70 Natalia Winkelman
    Darby and the Dead
    As familiar as this tale of female transformation feels, there is an authentic sweetness to Darby and Capri’s fledgling friendship. Their bond resuscitates a movie that might otherwise have been dead on arrival.
    • 45 Metascore
    • 30 Natalia Winkelman
    The Son
    Despite its contemporary New York City setting, The Son seems to have appropriated a midcentury understanding of mental illness, and the emotion on display feels even more artificial than the rooftop vista erected outside the windows of Peter’s industrial-chic Manhattan loft.
    • 82 Metascore
    • 50 Natalia Winkelman
    Bad Axe
    This is a hermetic story, but one wishes that Siev had balanced its coziness with acuity.
    • 75 Metascore
    • 70 Natalia Winkelman
    Nothing Lasts Forever
    That marketing campaigns are built on fallacies isn’t exactly revelatory, but in pairing his excavation of the diamond myth with new inquiries into how the industry is evolving (and how it’s stagnating), Kohn strikes on something valuable.
    • 67 Metascore
    • 40 Natalia Winkelman
    Salvatore: Shoemaker of Dreams
    If Guadagnino sought to reflect the romance of Ferragamo’s red carpet creations, his storytelling is at once more conventional and more awkward in construction. Forget feet; defter hands might have helped.
    • 51 Metascore
    • 40 Natalia Winkelman
    Run Sweetheart Run
    Bursts of experimental style feel at odds with the movie’s core: a simplistic parable of pervasive sexism.
    • tbd Metascore
    • 70 Natalia Winkelman
    The Fire that Took Her
    In interviews, the director Patricia E. Gillespie has said that while pitching the film, people often asked whether she could cover or blur Judy’s face to shield audiences from her burns. Gillespie refused, and her resolve to train her camera on Judy gives the film an unflinching quality.
    • 61 Metascore
    • 30 Natalia Winkelman
    Rosaline
    The engine of this movie is snark, and Dever, overtaxed with carrying the comedy, brings a dauntlessness to the role, even during more daft moments.
    • 57 Metascore
    • 80 Natalia Winkelman
    Significant Other
    Significant Other does not reinvent the genre, but its narrative flourishes make for an exciting outing.
    • 71 Metascore
    • 70 Natalia Winkelman
    God's Creatures
    God’s Creatures is ultimately a movie about the collision between a mother’s fidelity and her moral conscience, and Watson is terrific at telegraphing how these instincts grind against each other to terrifying ends.
    • 78 Metascore
    • 70 Natalia Winkelman
    Argentina, 1985
    Cinema prizes a good man making history, but this story’s heroes are manifold.
    • tbd Metascore
    • 70 Natalia Winkelman
    Invisible Demons
    Through a series of arresting images, the director Rahul Jain presents a city on the verge of apocalypse.
    • 44 Metascore
    • 70 Natalia Winkelman
    End of the Road
    Even when the movie wants for tension, it brims with playful style.
    • tbd Metascore
    • 70 Natalia Winkelman
    Our American Family
    Addiction is a complex, challenging topic, and Our American Family, in its sharp specificity, handles it with grace.
    • 45 Metascore
    • 30 Natalia Winkelman
    The Invitation
    Had the movie emerged as a friskier game of eat the rich, it might have had a fighting chance of survival. Instead, it’s middling, morbid pap.
    • 49 Metascore
    • 30 Natalia Winkelman
    Look Both Ways
    Never mind that Look Both Ways seems to posit that, for women, child rearing and a career are in relative opposition — when Natalie comes to a fork in the road, the movie hardly lets her look both ways. It bulldozes her down one path, and then the other.
    • 61 Metascore
    • 40 Natalia Winkelman
    Rogue Agent
    The real account of Robert Freegard might have been unbelievable. Its dramatization, however, is preposterous.
    • 57 Metascore
    • 30 Natalia Winkelman
    Wedding Season
    Wedding Season is mostly flavorless, but its interest in capitalistic success inspires a pucker of bad taste.
    • 78 Metascore
    • 75 Natalia Winkelman
    Girl Picture
    In spite of the movie’s tropes, Haapasalo clearly understands that, when you’re young, desire can feel confusing or gratifying, thrilling or overwhelming. In her snapshot of contemporary girlhood, Haapasalo contains all of the above — making the movie an affecting achievement that never feels less than loving.
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