Lena Wilson

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IGN, The Film Stage, The New York Times, The Playlist, TheWrap
For 143 reviews, this critic has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 7.9 points lower than other critics. (0-100 point scale)

Lena Wilson's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Ibiza
Lowest review score: 0 Cats
Score distribution:
  1. Positive: 62 out of 143
  2. Mixed: 52 out of 143
  3. Negative: 29 out of 143
143 movie reviews
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    • 85 Metascore
    • 67 Lena Wilson
    Blue Film
    By the end of Blue Film, it’s hard not to feel like it didn’t quite live up to its potential. As a novel, it would be engrossing. As a movie, it’s got good bones but a cowardly lack of boners.
    • 71 Metascore
    • 75 Lena Wilson
    Honey Bunch
    Honey Bunch is a work of art, but it won’t go down easily for everyone, and it’s sure to be divisive. Definitely watch it with a friend or loved one — whether you’re picking apart the plot holes or reveling in the reveal, you’ll need to debrief afterward.
    • 68 Metascore
    • 50 Lena Wilson
    American Pachuco: The Legend of Luis Valdez
    “American Pachuo” is just a nice movie about a visionary guy. Entertaining and educational, to be sure, but so frictionless it barely sticks.
    • 71 Metascore
    • 42 Lena Wilson
    Lady
    The downside is that Lagos is a more interesting character in this film than Lady herself, who Nwosu outlines with far less finesse. Such a glaring imbalance is symptomatic of the script’s overall flimsiness, which stands in contrast to this debut’s heartfelt performances and staggering visuals.
    • 61 Metascore
    • 42 Lena Wilson
    Brides
    Brides has good bones — an interesting premise and a clearly capable director — but it’s unclear what it ultimately wants to say.
    • tbd Metascore
    • 50 Lena Wilson
    Push
    Though the aesthetics are consistently on point – great camerawork, suspenseful use of shadows and light – its characters and plot lack coherence. Tension builds promisingly in the first half, but by the climax, muddled action and shallow character motivation sap the suspense, and any opportunity for commentary is wasted
    • 39 Metascore
    • 40 Lena Wilson
    Please Don't Feed the Children
    Please Don’t Feed the Children has a few things going for it – namely capable lead performers Michelle Dockery and Zoe Colletti – but Destry Allyn Spielberg’s boring, predictable first feature definitely doesn’t feel like it comes from a descendant of filmmaking royalty.
    • 66 Metascore
    • 50 Lena Wilson
    The Surrender
    Despite a passionate performance from Colby Minifie and some compelling visuals, The Surrender sidelines its deft exploration of grief for drawn-out, pointless supernatural horror.
    • 58 Metascore
    • 80 Lena Wilson
    Novocaine
    Novocaine offers more depth than its gimmicky “man who feels no pain” premise may lead you to believe. This movie breathes new life into old ideas, with an original hero buoyed by the charm of Jack Quaid and a heroine who ably beats the damsel-in-distress allegations. Novocaine is smart, but not so self-aware that it’s likely to alienate anybody; sharp, but not without feeling.
    • 61 Metascore
    • 75 Lena Wilson
    Two Women
    Two Women is a titillating, vibrant send-up of societal expectations that goes down easy despite its brashness. (See: Violette’s farcical misinterpretation of the #MeToo hashtag.) It’s strongest when leaning hard into hedonism, but even a distracted narrative can’t bring this frothy flick down.
    • 56 Metascore
    • 50 Lena Wilson
    Nightbitch
    Despite its ferocious source material and lead Amy Adams, Nightbitch is a bloodless tale of maternal doldrums with little payoff.
    • 72 Metascore
    • 25 Lena Wilson
    Juror #2
    While it’s nice to see Toni Colette and Chris Messina face off both in and out of the courtroom and Zoey Deutch gives a strong dramatic performance as Ally, even the best acting can’t make Juror #2 make sense.
    • 49 Metascore
    • 60 Lena Wilson
    The Front Room
    Though it features delightfully weird visuals and a stellar turn by Kathryn Hunter, The Front Room can’t find its identity, both on-screen and in its own marketing.
    • 61 Metascore
    • 70 Lena Wilson
    Skincare
    Though Skincare’s script lacks bite or balance, Elizabeth Banks gives a riveting lead performance with assistance from Lewis Pullman as her sketchy sidekick.
    • 53 Metascore
    • 70 Lena Wilson
    It Ends with Us
    Thanks to slick screenwriting, stylish art direction, and a sparkling lead performance from Blake Lively, It Ends with Us tackles difficult subject matter with maturity, tenderness, and just a dash of whimsy.
    • 43 Metascore
    • 30 Lena Wilson
    The Strangers: Chapter 1
    The Strangers: Chapter 1 might freak you out if you aren’t old enough to remember The Strangers, but where its predecessor was subtle and interesting, Renny Harlin’s reboot chooses to be ridiculous and boring.
    • 82 Metascore
    • 75 Lena Wilson
    Black Box Diaries
    Ito is undeniably brave, but this autobiographical doc could stand to be a bit less shiny.
    • 57 Metascore
    • 83 Lena Wilson
    Little Death
    It’s nice to see a first-time director unafraid to let his viewers have their own experiences and come to their own conclusions. Here’s one: the bravest thing about Little Death isn’t its risks––it’s the filmmakers’ choice to forgo nihilism for hope.
    • 71 Metascore
    • 42 Lena Wilson
    Seeking Mavis Beacon
    Seeking Mavis Beacon quickly becomes less about what this software and its spokeswoman represent, more about what Jones and Ross are thinking or doing at any given time––even if it distracts from the film’s mission.
    • 61 Metascore
    • 75 Lena Wilson
    Suncoast
    Although the script could certainly use pruning, Suncoast balances intellect and emotion to deliver clever, memorable lines and a climax that will leave you weeping.
    • 62 Metascore
    • 58 Lena Wilson
    Stress Positions
    Its scrappiness is what brings the charm à la the early work of Madeleine Olnek. Random attempts at depth detract from the final product rather than add to it.
    • 74 Metascore
    • 54 Lena Wilson
    Plan C
    The patients, experts, and tireless doctors and activists who director Tracy Droz Tragos (“Rich Hill,” “Abortion: Stories Women Tell”) interviews are dedicated and admirable, but this documentary’s humanity comes at the expense of basic facts.
    • 77 Metascore
    • 75 Lena Wilson
    Mamacruz
    Mamacruz is finely crafted, if not particularly challenging. This film clearly wants to wrestle with taboos, but that revolutionary spirit doesn’t go much further than the basic premise. With such important themes, this film deserves to be a bit more memorable than it ultimately is.
    • 58 Metascore
    • 81 Lena Wilson
    Boston Strangler
    “Boston Strangler” may muddle its facts, but its message never wavers. In a genre dominated by perfunctory intrigue, how exhilarating to see a film with morals this clear, consistent, and touching.
    • 78 Metascore
    • 88 Lena Wilson
    John Wick: Chapter 4
    Even when it drags — 169 minutes is a lot of time to fill, even for this masterful crew — the film gamely mixes comedy, action, and drama into one truly satisfying cocktail.
    • 69 Metascore
    • 83 Lena Wilson
    Of an Age
    This is a sweeping, lived-in romance that is as resonant as it is precise.
    • 41 Metascore
    • 58 Lena Wilson
    Consecration
    This high-concept horror too easily crosses over from charmingly erratic to nonsensical.
    • 52 Metascore
    • 54 Lena Wilson
    Magic Mike's Last Dance
    Why Magic Mike’s Last Dance chooses to teach viewers about love, consent, and having it all, then, is a mystery. The Galentine’s Day crowd will probably be too drunk to notice.
    • 58 Metascore
    • 60 Lena Wilson
    Body Parts
    Body Parts has a lot to say about onscreen objectification, but it would benefit greatly if — like Quentin Tarantino’s camera on a young woman’s feet — it maintained its focus.
    • 53 Metascore
    • 40 Lena Wilson
    Landscape with Invisible Hand
    Where Anderson went to great lengths to address some salient topics in his novel — like colonialism, the American healthcare system, and the obsolescence of the working class — Finley’s “Landscape” lacks the worldbuilding necessary to make any such strong connections. This could be a scathing indictment of our country’s growing class divide. Instead, it’s a nice-looking, entertaining movie that conveniently pulls its punches.
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