Alison Willmore

Alison Willmore
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
44% Boogie (2021) Whatever desire to get real that the film was born out of, it ultimately feels like a sign that it's time to do some growing up. - New York Magazine/Vulture EDIT
Read More | Posted Mar 6, 2021
95% Raya and the Last Dragon (2021) Raya and the Last Dragon is a reminder of the things that Disney has always been capable of doing so well at its heights, a marvel of character design, world-building, and canny choices. - New York Magazine/Vulture EDIT
Read More | Posted Mar 4, 2021
99% The Father (2021) Masterful and agonizing, The Father is a gorgeously crafted film about a doomed arrangement entered into with love, even though it can only end in tragedy. - New York Magazine/Vulture EDIT
Read More | Posted Feb 26, 2021
89% The Nest (2020) As a statement on a decade of consumerism, The Nest doesn't have anything particularly new to say, but as a fable of familial dysfunction, it's resonant and, yes, frightening, with nary a ghost in sight. - New York Magazine/Vulture EDIT
Read More | Posted Feb 21, 2021
82% Happiest Season (2020) Proving a conservative format can change is well and good, but there's also something to be said for just leaving it behind. - New York Magazine/Vulture EDIT
Read More | Posted Feb 21, 2021
87% Supernova (2021) The melancholy pleasures of Supernova are entirely derived from getting to watch Firth and Tucci onscreen... - New York Magazine/Vulture EDIT
Read More | Posted Jan 29, 2021
94% Nomadland (2021) Through these characters, Zhao is able to examine the idea of wide-open frontiers without nostalgia or the need to pathologize the parts of our social structures that are eroding or have failed. - New York Magazine/Vulture EDIT
Read More | Posted Jan 26, 2021
98% Minari (2020) Chung is a patient filmmaker who works in small sequences that accrue imperceptibly into something grander. - New York Magazine/Vulture EDIT
Read More | Posted Dec 23, 2020
95% Soul (2020) There's a definite satisfaction to how expectation-defying the film is, with its hairpin twists and turns, though some of the surprises stem from the way that Soul can't entirely figure out how its two worlds mesh together thematically. - New York Magazine/Vulture EDIT
Read More | Posted Dec 21, 2020
29% Wild Mountain Thyme (2020) Wild Mountain Thyme is not just charmless. It is genuinely confounding, a movie constantly working against itself to make its characters and their dilemma comprehensible. - New York Magazine/Vulture EDIT
Read More | Posted Dec 10, 2020
25% Hillbilly Elegy (2020) The film is like a package of assorted chicken parts that can't be assembled back into something approximating the shape of an actual animal - there's way too much of some stuff, while certain essentials are missing entirely. - New York Magazine/Vulture EDIT
Read More | Posted Nov 24, 2020
89% Run (2020) Run isn't always a clever film, but it is a film in which the characters are clever, and it seems determined to avoid the kind of moments that leave you yelling at the screen in frustration about how terrible someone's choices are. - New York Magazine/Vulture EDIT
Read More | Posted Nov 19, 2020
83% Freaky (2020) Freaky whiplashes between the high concept and the sincerely heartfelt, constantly on the verge of rattling off the rails but never quite losing tonal control. It's not an especially scary movie, but it sure is a good time. - New York Magazine/Vulture EDIT
Read More | Posted Nov 12, 2020
83% Mank (2020) It surprises you, like a drunk at a party who has gotten garrulous and then maudlin and then manages to say something brutally vulnerable. - New York Magazine/Vulture EDIT
Read More | Posted Nov 9, 2020
50% The Craft: Legacy (2020) The biggest disappointments of The Craft: Legacy stem from it starting off so promisingly, using elements of its source material while heading somewhere unpredictable. - New York Magazine/Vulture EDIT
Read More | Posted Oct 28, 2020
49% The Witches (2020) It's an adaptation without direction or purpose, with an unwieldy but deeply committed performance at its center. Hathaway looks to be having fun, at least. Someone should! - New York Magazine/Vulture EDIT
Read More | Posted Oct 22, 2020
98% Time (2020) Time is a counterbalance to the brutal bureaucracy of [the] system - insisting in its every frame on the unbowed humanity of its subjects in the face of systemic indifference. - New York Magazine/Vulture EDIT
Read More | Posted Oct 8, 2020
98% The Forty-Year-Old Version (2020) The 40-Year-Old Version feels like a '90s indie throwback, loose and left raw at the edges, marked by an intimacy that can only come from drawing from the stuff of its multi-hyphenate creator's life. - New York Magazine/Vulture EDIT
Read More | Posted Oct 7, 2020
93% Possessor: Uncut (2020) If Possessor ultimately feels more like a testament to its director's excellent taste in influences than a film that entirely gels in itself, it's still a thoroughly troubling watch. - New York Magazine/Vulture EDIT
Read More | Posted Oct 2, 2020
87% On The Rocks (2020) On the Rocks isn't a great movie, but it's one overflowing with feelings that it tries to squash into something tidier. - New York Magazine/Vulture EDIT
Read More | Posted Sep 30, 2020
90% The Trial of the Chicago 7 (2020) This film is one of those exhilarating instances when Sorkin finds a context in which all of his well-established impulses that can be so annoying elsewhere... - New York Magazine/Vulture EDIT
Read More | Posted Sep 25, 2020
73% Mulan (2020) If someone were to do a shot every time a character mentions "honor," they would surely die of alcohol poisoning before the credits roll under a new recording of "Reflection" from Christina Aguilera. - New York Magazine/Vulture EDIT
Read More | Posted Sep 4, 2020
82% Bill & Ted Face the Music (2020) The most successful quality of the film is how close it keeps in spirit and haphazard style to the first two installments, and how it feels proudly unstuck in time. - New York Magazine/Vulture EDIT
Read More | Posted Aug 28, 2020
92% The Personal History of David Copperfield (2020) The humor in The Personal History of David Copperfield sometimes comparatively tends toward the fuzzy and overly gentle. But it's hard to begrudge it that when it's also capable of bright bursts of delight. - New York Magazine/Vulture EDIT
Read More | Posted Aug 26, 2020
48% Unhinged (2020) For a movie marking a week in which theaters are reopening, Unhinged feels a lot like a movie that would be best caught on cable someday. - New York Magazine/Vulture EDIT
Read More | Posted Aug 21, 2020
60% Project Power (2020) The trouble with trying to push at the boundaries of the superhero genre isn't that we're out of material, it's that imaginations are so limited... - New York Magazine/Vulture EDIT
Read More | Posted Aug 14, 2020
94% Boys State (2020) Boys State belongs to that realm of documentaries, like Spellbound and Mad Hot Ballroom and Cheer, that take their structure and draw their suspense from the competitions they chronicle. - New York Magazine/Vulture EDIT
Read More | Posted Aug 13, 2020
67% The Burnt Orange Heresy (2020) As a thriller, The Burnt Orange Heresy is entirely underwhelming, but that doesn't mean it isn't worth watching. - New York Magazine/Vulture EDIT
Read More | Posted Aug 7, 2020
72% An American Pickle (2020) There's something to An American Pickle, something melancholy and sweet that it finds its way back to, and it has to do with the eternal question of what we hold onto from the past, and what we discard. - New York Magazine/Vulture EDIT
Read More | Posted Aug 4, 2020
93% Bloody Nose, Empty Pockets (2020) As a film, it's warm and beautiful without being sentimental about the temporary intimacy that alcohol can provide, creating bonds that can dissolve in the daylightlike haze but are no less legitimate in the moment for it. - New York Magazine/Vulture EDIT
Read More | Posted Jul 10, 2020
94% Palm Springs (2020) One of its immediate pleasures comes in how dexterously it skims past many of the obligatory beats in order to get to less-explored territory. - New York Magazine/Vulture EDIT
Read More | Posted Jul 7, 2020
40% Irresistible (2020) Irresistible isn't just shockingly ineffectual in its insights into national schisms - it is, in an added betrayal, unfunny, requiring its audience to slog their way through so much laborious farce without a laugh in sight. - New York Magazine/Vulture EDIT
Read More | Posted Jun 24, 2020
94% Babyteeth (2020) Murphy succeeds in making her non-maudlin take on a mostly maudlin format in large part because of Scanlen... - New York Magazine/Vulture EDIT
Read More | Posted Jun 19, 2020
75% The King of Staten Island (2020) Apatow has a nuanced understanding of his collaborator, but doesn't know what to do with him any more than SNL really does. - New York Magazine/Vulture EDIT
Read More | Posted Jun 9, 2020
87% Shirley (2020) With the support of Moss, who's become a specialist in deconstructing the idea of feminine hysteria, and Young, who plays Rose like the flushed heroine of a grim fairy tale, Decker ends up in a place that's strange and satisfying. - New York Magazine/Vulture EDIT
Read More | Posted Jun 5, 2020
92% The Vast of Night (2020) [A] sense of immediacy is essential to the salty-sweet contrast of the film, which combines a throwback premise with an unstintingly modern sensibility. - New York Magazine/Vulture EDIT
Read More | Posted May 29, 2020
96% The Painter and the Thief (2020) [A] strange, delicately made film, which manages to defy expectations about both of its subjects and the power balance between them. - New York Magazine/Vulture EDIT
Read More | Posted May 22, 2020
47% Scoob! (2020) It's really no better or worse than other selections from the genre it's part of - that slice of fast-paced, brightly colored kids movie that makes no pretense of being anything other than an adequate distraction for young attention spans. - New York Magazine/Vulture EDIT
Read More | Posted May 15, 2020
39% Capone (2020) The only thing that makes the monotony tolerable is Hardy's go-for-broke performance, which isn't effective, but is mesmerizing. - New York Magazine/Vulture EDIT
Read More | Posted May 12, 2020
93% Becoming (2020) It doesn't feel like it's laying the groundwork for a future campaign from its subject, not matter how adored it makes her look. Instead, it's more of an insistent feature-length case for the family having done, and given, enough. - New York Magazine/Vulture EDIT
Read More | Posted May 6, 2020
87% Selah and the Spades (2020) It's not a mobster movie as told with prep school kids - it's more like a movie intent on pointing out that mobsters are just teenagers who've grown up. - New York Magazine/Vulture EDIT
Read More | Posted Apr 17, 2020
87% Swallow (2020) It takes place in a landscape that's largely internal - but that's territory that can be just as filled with darkness and dread as a forbidding mansion. - New York Magazine/Vulture EDIT
Read More | Posted Mar 19, 2020
57% The Hunt (2020) It's regrettable that, despite all of its jabs at relevance, the movie has no desire to actually dig into the details of the anger felt by either side of the bloodsport event it imagines. - New York Magazine/Vulture EDIT
Read More | Posted Mar 13, 2020
83% The Way Back (2020) It's a performance that suggests the most interesting stretch of Affleck's career as an actor is still to come. - New York Magazine/Vulture EDIT
Read More | Posted Mar 4, 2020
91% The Invisible Man (2020) Moss holds the film together with her deeply committed performance, and in particular with the defeated air that she gives Cecilia, one that's always there under her recovering cheerfulness or displays of brittle defiance. - New York Magazine/Vulture EDIT
Read More | Posted Feb 26, 2020
86% Emma. (2020) Emma. occupies a perplexing if ultimately pleasurable spot on the Austen industrial complex's twin axes of faithful/revisionist and realistic/stylized. - New York Magazine/Vulture EDIT
Read More | Posted Feb 20, 2020
7% Fantasy Island (2020) Just wretchedly unenjoyable. - New York Magazine/Vulture EDIT
Read More | Posted Feb 14, 2020
75% To All the Boys: P.S. I Still Love You (2020) It actually ends up unintentionally undercutting the relationship the film asks us to be invested in. - New York Magazine/Vulture EDIT
Read More | Posted Feb 13, 2020
78% Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) The movie never feels entirely decided as to what that is. - New York Magazine/Vulture EDIT
Read More | Posted Feb 5, 2020
90% Promising Young Woman (2020) Fennell's film is a vibrant, stylistically precise piece of work, but the sentiments it conveys don't feel examined. It's an acceleration off a cliff when what you'd really like to see is some kind of road forward, no matter how rough. - New York Magazine/Vulture EDIT
Read More | Posted Jan 28, 2020