Zachary Wigon

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Village Voice
For 67 reviews, this critic has graded:
  • 46% higher than the average critic
  • 7% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 3 points lower than other critics. (0-100 point scale)

Zachary Wigon's Scores

  • Movies
  • TV
Average review score: 63
Lowest review score: 20 The Last Day of August
Score distribution:
  1. Positive: 32 out of 67
  2. Mixed: 28 out of 67
  3. Negative: 7 out of 67
67 movie reviews
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    • 65 Metascore
    • 60 Zachary Wigon
    1001 Grams
    This portrait of an introverted soul brought out of her shell is not without its charms.
    • 71 Metascore
    • 70 Zachary Wigon
    Welcome to New York
    Surprisingly -- and pleasantly -- restrained in its delivery, Abel Ferrara's Welcome to New York is the sort of picture that withholds judgment of its protagonist so that viewers have space to make their own.
    • 57 Metascore
    • 70 Zachary Wigon
    In the Courtyard
    Thoroughly nonjudgmental in its observations, Pierre Salvadori's In the Courtyard ranks as one of the funnier films about victims of depression and mental illness.
    • 67 Metascore
    • 90 Zachary Wigon
    Ned Rifle
    Hartley's humor and intellectual musings are, as always, fully present, but by anchoring them to a genuinely compelling story of familial retribution, he's made his best film in years.
    • 51 Metascore
    • 50 Zachary Wigon
    Boychoir
    Hoffman, naturally, makes his character interesting in the way that genius actors always do. Yet the film's storytelling struggles to match his level of skill.
    • 74 Metascore
    • 70 Zachary Wigon
    La Sapienza
    A picture that balances heart and mind with nuance.
    • 74 Metascore
    • 90 Zachary Wigon
    Ballet 422
    Ballet 422 is more visually sumptuous than most narratives you're likely to see this year, featuring careful compositions that make watching the film an aesthetic experience as much as an intellectual one.
    • 73 Metascore
    • 90 Zachary Wigon
    Something, Anything
    This is a sure-handed, complex portrait of one woman's attempts to feel alive.
    • 68 Metascore
    • 70 Zachary Wigon
    If You Don't, I Will
    While you may be left craving more emotional fireworks than you get, Fillières's intelligent film is accomplished in its portrayal of a marriage in crisis, the union's last gasps rife with poignant exchanges.
    • tbd Metascore
    • 60 Zachary Wigon
    Four Moons
    The film is earnest and nobly intentioned, though its execution doesn't measure up.
    • 51 Metascore
    • 70 Zachary Wigon
    Late Phases
    The narrative ends up working in a smaller scope than one might expect given the premise of a beast plaguing a community, but the journey getting to the finish is exhilarating all the same.
    • tbd Metascore
    • 40 Zachary Wigon
    Rhymes for Young Ghouls
    Carefully lit and designed, with a moody and muted color palette, the film effectively conveys the feel of Aila's hardscrabble existence. But the horrific behavior of Popper, who does little other than threaten, beat, and try to rape Indians, becomes problematic.
    • 32 Metascore
    • 30 Zachary Wigon
    Plastic
    For a film with shootouts, heists, and high-speed chases, Julian Gilbey's Plastic is a strangely lifeless affair.
    • 78 Metascore
    • 80 Zachary Wigon
    Tracks
    The film’s strength derives from how Wasikowska makes Davidson’s seemingly suicidal wanderlust relatable.
    • 65 Metascore
    • 70 Zachary Wigon
    Honeymoon
    While its ending descends into standard horror tropes that fail to completely satisfy its promise, the film nevertheless achieves emotional resonance due to how effectively it joins its source of horror with the stuff of everyday human anxieties.
    • 77 Metascore
    • 90 Zachary Wigon
    Abuse of Weakness
    Breillat's impressive film is a study of bodies and how we carry them, and it explores the manner in which weakness seeks out strength on an almost primal level, bypassing the higher modes of human thought.
    • 48 Metascore
    • 30 Zachary Wigon
    4 Minute Mile
    The narrative is so formulaic as to feel immediately contrived, with seemingly every plot device taken from another film.
    • 72 Metascore
    • 70 Zachary Wigon
    The Kill Team
    The emotional disconnect between a soldier's perception of reality and reality itself is the subject of this documentary, which finds drama in evenhanded storytelling that is the inverse of its characters' emotional shakiness.
    • 81 Metascore
    • 80 Zachary Wigon
    The Empty Hours
    Full of long takes and matter-of-fact performances, melancholy low-contrast cinematography and desolate vistas suffused with acute loneliness, The Empty Hours captures the feeling of idling away the time, waiting for something to arrive.
    • 57 Metascore
    • 50 Zachary Wigon
    The Grand Seduction
    The endearing nature of the characters, especially Gleeson's Murray, provides some pleasure.
    • 37 Metascore
    • 40 Zachary Wigon
    50 to 1
    While the film isn't without charming moments -- the Derby sequence is entertaining -- the lack of narrative sophistication grates.
    • 73 Metascore
    • 70 Zachary Wigon
    Ai Weiwei: The Fake Case
    With such a compelling central figure it would be tough for the doc to not stimulate, but stimulation aside, its rather shapeless narrative can feel desultory.
    • 62 Metascore
    • 70 Zachary Wigon
    Beneath the Harvest Sky
    Gaudet and Pullapilly have a background in documentaries, and there's a convincing naturalism to their storytelling.
    • 66 Metascore
    • 80 Zachary Wigon
    Last Passenger
    While certainly a formulaic genre film, it's nevertheless a formula executed with a great sensitivity to visual engagement.
    • 54 Metascore
    • 50 Zachary Wigon
    Small Time
    The film isn't without mirth and charm... But as Surnow steers into serious waters, the direction of the storytelling becomes increasingly misguided.
    • 80 Metascore
    • 90 Zachary Wigon
    The King of Escape
    Weaving numerous influences into a rich emotional tapestry, Alain Guiraudie's The King of Escape skillfully absorbs and updates its assertive cinematic forebears.
    • 45 Metascore
    • 40 Zachary Wigon
    Hank and Asha
    The film's success rests upon the interest engendered by these characters, but Hank and Asha fail to meaningfully engage us.
    • 75 Metascore
    • 90 Zachary Wigon
    Miss Violence
    Miss Violence honors the thoroughly creepy work of Avranas's countrymen, but in his turn of the screw, Avranas marshals the abstract qualities of art cinema to comment upon concrete horror.
    • 47 Metascore
    • 60 Zachary Wigon
    Special ID
    All the performers are supremely entertaining while dealing or defying horrible deaths... but Yen unfortunately lacks the kind of charisma that can elevate a genre film to a higher level of satisfaction.
    • 75 Metascore
    • 80 Zachary Wigon
    Honey
    With striking compositions and cuts that reveal a deep appreciation of cinema's possibilities, Valeria Golino's Honey could be about anything at all and still demand and hold your attention; that the narrative is as moving as the film is aesthetically precise is an added delight.
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