Alissa Wilkinson

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The New York Times, Vox, Vox.com
For 535 reviews, this critic has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 6.6 points higher than other critics. (0-100 point scale)

Alissa Wilkinson's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Procession
Lowest review score: 10 The Happytime Murders
Score distribution:
  1. Positive: 373 out of 535
  2. Mixed: 138 out of 535
  3. Negative: 24 out of 535
535 movie reviews
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per page
    • 77 Metascore
    • 90 Alissa Wilkinson
    Nope
    Nope is a big, very loud, very effects-driven spectacle. It’s a movie with a thousand references to the past. It’s also a riotously entertaining thrill ride that owes portions of its plot to some of Hollywood’s most successful summer blockbusters, Jaws and Independence Day. It’s part of the culture; it can’t stand outside of it. But it functions at least a little bit as a warning, or maybe a prophecy, or a call for a reboot, or a reminder to care about what, or who, gets our attention.
    • 65 Metascore
    • 80 Alissa Wilkinson
    Men
    Men is the most visceral and organic dive into the curse of human nature that [Garland's] made yet. But it’s like each of his movies, filling in the question of what it means to be human — and to keep living on this planet — stroke by stroke.
    • 82 Metascore
    • 90 Alissa Wilkinson
    The Northman
    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
    Donbass
    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
    Jackass Forever
    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 Lost Daughter
    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
    Silent Night
    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
    Don't Look Up
    For me, the bludgeoning tends to blunt the entertainment value.
    • 74 Metascore
    • 90 Alissa Wilkinson
    Dune: Part One
    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
    • 100 Alissa Wilkinson
    The Souvenir: Part II
    One of 2021’s best movies.
    • 91 Metascore
    • 100 Alissa Wilkinson
    Flee
    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
    The Power of the Dog
    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
    • 100 Alissa Wilkinson
    Licorice Pizza
    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.
    • 60 Metascore
    • 70 Alissa Wilkinson
    House of Gucci
    House of Gucci is probably the funniest comedy and dopiest tragedy of the year. Everyone chomps on the scenery.
    • 85 Metascore
    • 90 Alissa Wilkinson
    Passing
    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
    Belfast
    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
    Procession
    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
    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
    The Eyes of Tammy Faye
    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
    • 80 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
    Space Jam: A New Legacy
    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.
    • 78 Metascore
    • 70 Alissa Wilkinson
    Roadrunner: A Film About Anthony Bourdain
    In resisting the urge to paint its subject as a saint, Roadrunner gives us something better: a human.
    • 96 Metascore
    • 100 Alissa Wilkinson
    Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    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
    F9: The Fast Saga
    It might be the most perfect Hollywood summer blockbuster ever made. Not the best, mind you.
    • 71 Metascore
    • 70 Alissa Wilkinson
    A Quiet Place Part II
    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
    • 70 Alissa Wilkinson
    In the Heights
    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
    Concrete Cowboy
    Despite its flaws, the film works because it’s not, in the end, contrived.
    • 59 Metascore
    • 70 Alissa Wilkinson
    Godzilla vs. Kong
    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
    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.
    • 84 Metascore
    • 90 Alissa Wilkinson
    Judas and the Black Messiah
    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
    Malcolm & Marie
    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
    One Night in Miami
    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.
    • 87 Metascore
    • 80 Alissa Wilkinson
    Ma Rainey's Black Bottom
    The best plays are often more situation than plot. They capture, unravel, and singe the edges of the power struggles between people who are standing on shifting sand, letting the upper hand change from moment to moment. In retaining the feel of a play, Ma Rainey’s Black Bottom hangs onto that inherently theatrical quality.
    • 79 Metascore
    • 90 Alissa Wilkinson
    Another Round
    By the end, Another Round is a truly wonderful movie about trying to come to grips with life, anchored by terrific performances, infectious music, and a real understanding of the humming discontentment that all adults must learn to navigate in their own ways. It’s the sort of comedy fused with tragedy that may just best represent what life really is: a melancholy, glorious, slightly off-kilter dance.
    • 83 Metascore
    • 90 Alissa Wilkinson
    Soul
    Soul wasn’t made for a world that’s just gone through the nightmares of 2020, but coming out at the end of this harrowing year, it couldn’t feel more poignant. It’s funny, and it’s imaginative, but it’s also just very, very real.
    • 87 Metascore
    • 90 Alissa Wilkinson
    Wolfwalkers
    The only thing that can conquer fear is love, and Wolfwalkers loves its characters, their world, and the stunning beauty of human life. But most of all, it loves the truth that is buried within the myth.
    • 79 Metascore
    • 80 Alissa Wilkinson
    Mank
    It’s a very good movie, tight and layered and complex. And though it could feel chilly — and I understand that reaction — I found it quite moving.
    • 87 Metascore
    • 90 Alissa Wilkinson
    Small Axe: Education
    Education becomes a portrait of a community disappointed by the country they came to with eagerness — and determined to make something of themselves, and their culture, in spite of it.
    • 77 Metascore
    • 70 Alissa Wilkinson
    Small Axe: Alex Wheatle
    Alex Wheatle plays like a conventional coming-of-age story, of sorts, but the film is a fitting addition to Small Axe, rounding out a picture of young manhood and serving up powerful images of isolation and courage.
    • 69 Metascore
    • 80 Alissa Wilkinson
    I Am Greta
    What might be best about I Am Greta is a related theme woven throughout the film. She speaks to the camera frequently, frankly, and without embarrassment about her experience of having Asperger syndrome, a neurodevelopmental disorder she refreshingly sees as a positive rather than a negative.
    • 81 Metascore
    • 90 Alissa Wilkinson
    The Nest
    The Nest isn’t a haunted house movie, per se, but it draws on some of the visual tropes of the genre. It frequently feels as if something sinister is lurking around every corner.
    • 84 Metascore
    • 80 Alissa Wilkinson
    Small Axe: Red, White and Blue
    There are many obvious reasons why Red, White and Blue feels timely, but perhaps the greatest one is that it depicts the tricky dynamics Leroy experiences among his superiors.
    • 95 Metascore
    • 100 Alissa Wilkinson
    Small Axe: Lovers Rock
    Watching Lovers Rock is like being at the party at which the film takes place.
    • 90 Metascore
    • 90 Alissa Wilkinson
    Small Axe: Mangrove
    The film boasts a stellar cast led by Letitia Wright (Black Panther), who plays Altheia Jones-LeCointe, the leader of the British Black Panther movement.
    • 38 Metascore
    • 20 Alissa Wilkinson
    Hillbilly Elegy
    Whatever your opinion of the book, the movie is a different animal, and a startlingly terrible one.
    • 89 Metascore
    • 100 Alissa Wilkinson
    Dick Johnson Is Dead
    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
    Tenet
    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
    The Vast of Night
    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
    The Trip to Greece
    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
    The Lovebirds
    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.
    • 79 Metascore
    • 90 Alissa Wilkinson
    The Painter and the Thief
    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
    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
    Becoming
    It’s not a puff piece, but it also doesn’t contain any big revelations.
    • 79 Metascore
    • 80 Alissa Wilkinson
    South Mountain
    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
    The Assistant
    It’s one of the best, most gripping, and smartest films of 2020.
    • 79 Metascore
    • 90 Alissa Wilkinson
    Bad Education
    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
    True History of the Kelly Gang
    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
    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.
    • 64 Metascore
    • 80 Alissa Wilkinson
    The Other Lamb
    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
    Vivarium
    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
    The Platform
    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
    The Way Back
    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
    Onward
    It’s better than most of the entertainment aimed at children that studios churn out these days.
    • 55 Metascore
    • 50 Alissa Wilkinson
    Wendy
    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
    Emma.
    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
    Palm Springs
    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
    The Fight
    It’s both interesting and sometimes a little dull, which seems to be by design.
    • 86 Metascore
    • 70 Alissa Wilkinson
    Crip Camp: A Disability Revolution
    Crip Camp is buoyant and inspiring, a tale of people working together through difficulty and opposition to change the world.
    • 83 Metascore
    • 80 Alissa Wilkinson
    Bloody Nose, Empty Pockets
    The film is a beautifully empathetic work of art.
    • 32 Metascore
    • 50 Alissa Wilkinson
    Cats
    It’s literally incredible. I hope I never see it again.
    • 53 Metascore
    • 30 Alissa Wilkinson
    Star Wars: Episode IX - The Rise of Skywalker
    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
    Richard Jewell
    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
    Queen & Slim
    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 II
    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
    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.
    • 69 Metascore
    • 70 Alissa Wilkinson
    Tell Me Who I Am
    Ultimately, the film is not just a wild and nearly unbelievable story; it’s a rumination on the lasting effects of sexual abuse, the complicated question of “good” lies, and the moral quandary that comes along with withholding painful information.
    • 54 Metascore
    • 50 Alissa Wilkinson
    Terminator: Dark Fate
    In the hands of Deadpool director Tim Miller, Dark Fate by and large pulls off recapturing the goofy fun of the original, though with a twist. It evokes the earliest Terminator films, but Dark Fate doesn’t want to just rewrite Terminator’s future — it wants to reevaluate its past, too.
    • 75 Metascore
    • 80 Alissa Wilkinson
    Get Me Roger Stone
    The single most useful insight of Get Me Roger Stone is that men like Stone are driven not so much by ideology as by an overweening thirst for power and celebrity, propelled by absolute antipathy for their enemies.
    • 55 Metascore
    • 60 Alissa Wilkinson
    Zombieland: Double Tap
    As with most comedies, your mileage may vary wildly. It’s more of a celebration of its own existence than anything terribly fresh, but the jokes are solid and I laughed a lot, which I can’t say for most studio comedies of late.
    • 72 Metascore
    • 60 Alissa Wilkinson
    El Camino: A Breaking Bad Movie
    The fun comes from seeing your favorite characters again, not finally resolving missing pieces that have tortured your sleep for six years. And on that front, El Camino delivers.
    • 76 Metascore
    • 70 Alissa Wilkinson
    Dolemite Is My Name
    It’s an interesting (if not in-depth) exploration of how culturally dependent a thing comedy really is. It’s a vivid depiction of the challenges that black entertainers have faced, particularly in Hollywood. And it is, to everyone’s delight, a great Eddie Murphy performance.
    • 36 Metascore
    • 30 Alissa Wilkinson
    Lucy in the Sky
    Lucy in the Sky, distracted by its own flashy filmmaking, can’t center its gaze on one goal long enough to convey any of its interests well.
    • 94 Metascore
    • 90 Alissa Wilkinson
    The Irishman
    The movie has the maturity of an older man’s perspective, an eye cast backward on a full life. It is lively and wry and very funny, but at times it also feels like a confession, a plea for grace, not just from its protagonist but from the filmmaker himself.
    • 80 Metascore
    • 90 Alissa Wilkinson
    Ad Astra
    Ad Astra is beautiful, contemplative, and loaded with meaning — not an action movie, but one that leaves you with plenty to ponder.
    • 97 Metascore
    • 100 Alissa Wilkinson
    Parasite
    Parasite is an unpredictable, thought-provoking masterpiece about inequality.
    • 94 Metascore
    • 100 Alissa Wilkinson
    Marriage Story
    Marriage Story sees the end of a marriage as cause for both mourning and bittersweet comedy. The relationship is changing, but not ending. And the evolution is something to behold. To get a story like this right requires a sense of the comical and the absurd along with the devastating — and Marriage Story delivers.
    • 80 Metascore
    • 90 Alissa Wilkinson
    A Beautiful Day in the Neighborhood
    This film invites us into Rogers’ philosophy that adults would be better people if they tried to remember what it was like to be children. It gently coaxes the audience to filter some very adult emotions through the familiar characters and songs and stories of Rogers’ world. The result is unexpected and unlike any film of its kind, and a testimony to Rogers’ enduring influence, too.
    • 59 Metascore
    • 50 Alissa Wilkinson
    Joker
    Joker is a well-made movie, with a killer performance from Joaquin Phoenix, who seems born to play the role. But there’s nothing “bonkers” about it. It has nothing to say about the Joker himself or what he represents, or even about the world in which his brand of evil exists. Go ahead and crack open the movie. It’s hollow to the core.
    • 40 Metascore
    • 40 Alissa Wilkinson
    The Goldfinch
    I think I’d rather re-read The Goldfinch than watch it again. Straughan’s screenplay strips out most of the novel’s heart in favor of plot fidelity, albeit with the pieces told out of order. No longer does it feel like we’re on a journey with Theo. Instead, we’re just observing what happened to him during his life, and there’s no reason to care about any of it.
    • 82 Metascore
    • 80 Alissa Wilkinson
    Knives Out
    It’s the most finely tuned version of a murder mystery you could hope for, with joyous performances and style in spades.
    • 58 Metascore
    • 70 Alissa Wilkinson
    Jojo Rabbit
    The film is a little too sprightly to land any heavy punches — it’s more of a comedy with satirical elements than a true satirical tale. ... But hate can be both worthy of ridicule and deadly serious, and for the most part Jojo Rabbit manages to thread that needle.
    • 73 Metascore
    • 80 Alissa Wilkinson
    Honey Boy
    It’s an intensely personal project for writer and star Shia LaBeouf, one that walks a thin tightrope, but pays off beautifully.
    • 68 Metascore
    • 60 Alissa Wilkinson
    Just Mercy
    The film is smartly designed to deliver its message into as many hearts as possible.
    • 80 Metascore
    • 80 Alissa Wilkinson
    Waves
    Waves earns its grace-filled ending by asking us to live alongside a trial by fire. It sounds like hyperbole, but I mean it: You walk out with a weary, cleansed soul.
    • 86 Metascore
    • 90 Alissa Wilkinson
    American Factory
    American Factory tackles the challenges of globalization with much more depth and nuance than most reporting on the topic, precisely because it steps back to watch a story unfold over time and resists easy generalizations. It’s both soberly instructive and fascinating.
    • 74 Metascore
    • 70 Alissa Wilkinson
    Jawline
    Jawline is both disturbing and empathetic, and an important peek into the glory and angst of being a teenager on the internet today.
    • 64 Metascore
    • 60 Alissa Wilkinson
    Ready or Not
    Ready or Not takes its name from a game, an amusement for children, but it has something to say about some very grown-up concerns. And it’s both fun and deadly serious.
    • 51 Metascore
    • 30 Alissa Wilkinson
    Where'd You Go, Bernadette
    Bernadette is a soggy misfire, with sparks of possibility peppering a weirdly plodding tale.
    • 60 Metascore
    • 70 Alissa Wilkinson
    Good Boys
    One of Good Boys’ smartest insights into that period of life is that everyone is developing into their teenaged selves, but at very different speeds.
    • 81 Metascore
    • 80 Alissa Wilkinson
    13th
    The movie's arguments and implications for policy are a matter of life and death, and yet it’s the images that stayed with me after 13th.
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