Natalia Winkelman

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Film Threat, IndieWire, The New York Times
For 253 reviews, this critic has graded:
  • 32% higher than the average critic
  • 9% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 6.3 points lower than other critics. (0-100 point scale)

Natalia Winkelman's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 The Sky Is Everywhere
Lowest review score: 20 Distancing Socially
Score distribution:
  1. Positive: 104 out of 253
  2. Mixed: 125 out of 253
  3. Negative: 24 out of 253
253 movie reviews
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    • 61 Metascore
    • 70 Natalia Winkelman
    Unpregnant
    Its driving force may seem topical, but the story’s heart is timeless: the harmony between longtime friends, and Veronica and Bailey throw themselves into even the most fraught situations with giddy enthusiasm.
    • 39 Metascore
    • 60 Natalia Winkelman
    Love, Guaranteed
    Love, Guaranteed, simmering at a low boil, is a short and mostly sweet affair. Its successes are due in large part to Cook who, donning a vast array of snug fall coats, is endearing as a willful working woman with a new crush.
    • 76 Metascore
    • 50 Natalia Winkelman
    Rising Phoenix
    By avoiding complexity, Rising Phoenix preserves its inspiring mood, but offers only a platform for champions who already dominate the arena.
    • 57 Metascore
    • 50 Natalia Winkelman
    Chemical Hearts
    Despite the movie’s sympathy for the high stakes of Henry’s adolescence, the myopia of his point of view settles over “Chemical Hearts” like a layer of grime.
    • 58 Metascore
    • 60 Natalia Winkelman
    Work It
    Work It is no “Step Up,” but its best sequences involve Jake and Quinn, who share a chemistry in motion that, for a beat or two, conjures the genre’s magic.
    • 39 Metascore
    • 40 Natalia Winkelman
    The Kissing Booth 2
    If The Kissing Booth, stacked with regressive relationship dynamics, is Victorian in its views, The Kissing Booth 2 progresses to the midcentury.
    • tbd Metascore
    • 50 Natalia Winkelman
    Feel the Beat
    The harmony among the kids, particularly the older girls Kari (Lidya Jewett) and Sarah (Eva Hauge), is the film’s greatest asset, and the director, Elissa Down, uses their natural charm as a crutch for the run-of-the-mill story.
    • 72 Metascore
    • 70 Natalia Winkelman
    I'm No Longer Here
    Frías de la Parra is thoughtful and precise in conveying the cultural identity of these young people, and their spirit pulses through the story.
    • 77 Metascore
    • 70 Natalia Winkelman
    A Secret Love
    It is a compliment that A Secret Love, which runs under an hour and a half, could stand to be longer, with an expanded portrait of Terry and Pat’s early life as a couple.
    • 74 Metascore
    • 83 Natalia Winkelman
    Little Woods
    Affecting, sincere, and most importantly socially astute ... it’s one of the sharpest and most promising first films I’ve seen in some time.
    • 71 Metascore
    • 83 Natalia Winkelman
    Tyrel
    A finely gradated study of race and masculinity in the age of Trump, Tyrel is also an engrossing portrait of the revealing power of language.
    • 51 Metascore
    • 91 Natalia Winkelman
    I Think We're Alone Now
    I Think We’re Alone Now is an exercise in ambiance, and Morano is nothing if not a brilliant conductor of tone. Favoring dreamy over dreary, the movie is a handsome and often mesmerizing addition to Morano’s expanding oeuvre.
    • 62 Metascore
    • 50 Natalia Winkelman
    Never Goin' Back
    You can expect the same defecation and drug humor that crud up comedies of this ilk. Of course, its vacuity is intentional, and maybe we could always use more movies of the women-behaving-badly variety. But there’s also a real danger in perpetuating this type of teenage girl; it propagates the idea that, for women, defiance is power, radicalism is freedom, and being really hot is often all you need to survive.
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