Amber Wilkinson Movie Reviews & Previews - Rotten Tomatoes

Amber Wilkinson

Amber Wilkinson
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
3.5/5 83% 3/4 (2017) Director Ilian Metev wants our focus on the family physics. ‐ Eye for Film
Read More | Posted Feb 15, 2018
4.5/5 88% You Were Never Really Here (2018) Nothing plays out as you expect, with Ramsay maintaining an edgy, staccato that keeps both the action and the viewer on edge. ‐ Eye for Film
Read More | Posted Feb 13, 2018
3.5/5 71% Don't Worry, He Won't Get Far on Foot (2018) It's hard to be tough on a film with a spirit as warm-hearted as this - like Callahan, it's trying hard even when it fails.‐ Eye for Film
Read More | Posted Feb 12, 2018
2.5/5 59% Juliet, Naked (2018) The title might sound risque but the end product is as safe, cosy and unoriginal as a Now That's What I Call Music Christmas gift.‐ Eye for Film
Read More | Posted Feb 8, 2018
3.5/5 93% Loveless (Nelyubov) (2018) Though the filmmaking is good, the bleakness of the message is unremitting. ‐ Eye for Film
Read More | Posted Feb 8, 2018
4/5 85% The Divine Order (Die göttliche Ordnung) (2017) Leuenberger makes Nora's gradual awakening to gender issues feel like the sun coming out on a dreary day, brimful of unexpected warmth.‐ Eye for Film
Read More | Posted Feb 6, 2018
3/5 50% The Happy Prince (2018) A mixed bag, as while Everett the actor masterfully evokes the mournful mix of decadence and decay of the last years of Wilde, Everett the filmmaker is, like so many before him, too much in love with the brilliant old rogue for his own good.‐ Eye for Film
Read More | Posted Feb 6, 2018
4/5 No Score Yet Kailash (2018) Although Satyarthi's dedication and achievements speak for themselves, this is not a glossy hagiography, largely because he himself is acutely aware of the sacrifices made by his own family for the greater good.‐ Eye for Film
Read More | Posted Feb 5, 2018
4/5 72% In the Fade (Aus dem Nichts) (2017) Akin asks us to shift our perceptions of terrorist attacks in deliberately provocative ways, constantly flipping what we think we know and what we expect to see right up until the film's haunting final image.‐ Eye for Film
Read More | Posted Feb 2, 2018
4.5/5 100% Faces Places (Visages, villages) (2017) Whether she is probing at the ideas of the ties that bind us to a home or considering the morality of goat horns, she constantly nudges us to move around and, perhaps, get a better view.‐ Eye for Film
Read More | Posted Feb 2, 2018
4/5 100% The Prince of Nothingwood (2017) Even if the facts are fiction, you still get the sense of a man who is driven, at least in part, by an urge to bring some sort of happiness by shooting film rather than bullets.‐ Eye for Film
Read More | Posted Feb 2, 2018
3/5 80% Lu Over the Wall (Yoake tsugeru Rû no uta) (2017) There's no doubt that youngsters will enjoy the trippy and exuberant visuals of this film.. although whether the youngest audience members will have the staying power for the almost two-hour running time is another question. ‐ Eye for Film
Read More | Posted Feb 2, 2018
3.5/5 67% This is Home (2018) It is Shiva's lightness of touch that sells the film. Just as she lets the politics of the situation show through by examining their impact, her unobtrusive, observational style also helps the families feel free to recount their stories of trauma.‐ Eye for Film
Read More | Posted Feb 2, 2018
4/5 100% Colette (2018) Keira Knightley slips effortlessly into the evolution of Colette...‐ Times (UK)
Read More | Posted Jan 26, 2018
4/5 No Score Yet Of Fathers and Sons (2017) What makes the film all the more poignant is the fact that the children are, of course, despite all this, like kids anywhere else.‐ Eye for Film
Read More | Posted Jan 22, 2018
4/5 100% I Am Not a Witch (2017) The bobbins are a brilliantly employed metaphor, something that feels freshly sprung from a fairy tale, only silly until you consider how sinister they are.‐ Eye for Film
Read More | Posted Jan 22, 2018
3/5 60% Our New President (2018) Pozdorovkin isn't trying to present new information here and there is very little context provided, but it is not so much what is being shown as the sheer weight of material.‐ Eye for Film
Read More | Posted Jan 22, 2018
4.5/5 86% Loveling (Benzinho) (2018) Teles runs the gamut of emotions. We don't need to hear her discuss how she is feeling, we can see it written on her face.‐ Eye for Film
Read More | Posted Jan 22, 2018
3.5/5 82% Monsters and Men (2018) With a philosophical framework that asks us to consider the bigger picture, Green's film shows that the loaded system is as much of a threat to minority communities as a loaded gun.‐ Eye for Film
Read More | Posted Jan 22, 2018
3.5/5 No Score Yet Pikadero (2015) [Ben] Sharrock also shows a Aki Kaurismäki-like interest in colour. Blues, whites and yellows dominate in a way that helps this slight but enjoyable story come pleasingly together, while he also shares the Finnish director's interest in societal issues. ‐ Eye for Film
Read More | Posted Jan 9, 2018
3.5/5 No Score Yet Salyut-7 (2017) It's fascinating to see the usual Ground Control US politics switched out for Russian concerns.‐ Eye for Film
Read More | Posted Dec 16, 2017
4.5/5 No Score Yet Diamonds of the Night (Démanty noci) (1964) Not just specifically about the Second World War, Nemec's film still has resonance today as a broader allegory for the politics of power and the often belligerent attitude of the old towards the young.‐ Eye for Film
Read More | Posted Nov 8, 2017
4/5 No Score Yet Toyen (2013) [Nemec] doesn't lead us through Toyen's life by the hand but by the emotion.‐ Eye for Film
Read More | Posted Nov 7, 2017
3.5/5 57% Murder On The Orient Express (2017) If Ustinov emphasised the humour of Poirot and Suchet the meticulousness, Branagh manages to bridge the two, while also bringing an unexpected note of soulfulness and melancholy to his performance.‐ Eye for Film
Read More | Posted Nov 3, 2017
3.5/5 92% Thelma (2017) Thelma appears coolly aloof on the surface, but her constant choice of statement lipsticks, despite her otherwise conservative dress code, hints at the emotions screaming from within.‐ Eye for Film
Read More | Posted Nov 1, 2017
3/5 100% Donkeyote (2017) The director talks about a "sense of play" in the press notes but are the audience really playing if they don't know the rules ahead of time?‐ Eye for Film
Read More | Posted Oct 28, 2017
3.5/5 100% The Outlaws (2017) This Korean action thriller is cut from the same sort of cloth as that favoured by Johnnie To and, if it's not quite up there with the Hong Kong great's best, it's still got plenty of style.‐ Eye for Film
Read More | Posted Oct 26, 2017
3.5/5 98% Dina (2017) What emerges is a warm profile of two people who love each other, working a damned sight harder than many neurotypical couples to get over the humps in the road.‐ Eye for Film
Read More | Posted Oct 22, 2017
3.5/5 No Score Yet Pororoca (2017) Popescu's film isn't about loud recriminations but the way that lives can disintegrate by degrees.‐ Eye for Film
Read More | Posted Oct 19, 2017
4/5 93% Three Billboards Outside Ebbing, Missouri (2017) McDonagh lets the guilt flow freely and in unexpected places, not so much tearing our sympathies as folding them in on themselves until we realise that simple answers are unlikely in the presence of complex humans. ‐ Eye for Film
Read More | Posted Oct 13, 2017
4/5 100% Unrest (2017) This isn't just a film to inform those who are lucky enough to know very little about ME, it also serves as a love letter of understanding for those who have it and a call to arms for everyone.‐ Eye for Film
Read More | Posted Oct 10, 2017
3/5 No Score Yet Ravens (Korparna) (2017) Assur is adept at creating striking images - such as the shadows of the ravens of the title on a barn wall or the threat of violence posed by a piece of machinery.‐ Eye for Film
Read More | Posted Oct 9, 2017
4.5/5 98% Columbus (2017) Kogonada may be a skilled craftsman, but he never forgets his direction is serving the story and the characters, rather than the other way around.‐ Eye for Film
Read More | Posted Oct 8, 2017
3/5 71% Handia (2017) The story, built on the shifting relationship between the two brothers, holds considerable interest, even though the plot starts to ramble.‐ Eye for Film
Read More | Posted Oct 5, 2017
3.5/5 56% The Motive (El autor) (2017) Cuenta's command of visuals continues to impress ... But he never quite settles in term of tone and his approach to the Álvaro is too clinical.‐ Eye for Film
Read More | Posted Oct 5, 2017
2/5 33% Marrowbone (2018) Sergio G Sánchez has lofty ambitions, involving guilt, coming of age and a whisper of the supernatural - but without the emergency brake he is usually offered by whichever director he is working with to rein him in.‐ Eye for Film
Read More | Posted Oct 5, 2017
4.5/5 82% C'est la vie (Le sens de la fête) (2017) Set over the course of one event, Nakache and Toledano prove adept at planning and crowd management, plunging us into the workings of the backstage staff and some of the wedding party without losing us in the melee. ‐ Eye for Film
Read More | Posted Oct 5, 2017
3.5 91% The Disaster Artist (2017) Rather than simply turn Tommy into a laughing stock, Franco teases out the tragicomedy of the man.‐ Eye for Film
Read More | Posted Oct 5, 2017
4/5 100% The Wife (2016) Björn Runge is in no hurry to reveal his characters' faults or their history, letting his camera linger on Close and Pryce, so we can see the thoughts that swim on after the words die away.‐ Eye for Film
Read More | Posted Sep 30, 2017
2/5 67% M.F.A. (2017) While the feminist intention is clear, the idea that either being raped, becoming a serial killer or a combination of both improves her art - and leads to her wanting to paint naked - is egregious.‐ Eye for Film
Read More | Posted Sep 19, 2017
3/5 84% Loving Vincent (2017) The splendour of the artwork is not matched by the tale being told, which is of the paint-by-numbers variety.‐ Eye for Film
Read More | Posted Sep 18, 2017
4/5 81% Brigsby Bear (2017) Saturday Night Live regular Mooney, who has a twinkly mischievousness and comic timing reminiscent of a young Gene Wilder, plays James as naive, but never stupid.‐ Eye for Film
Read More | Posted Sep 15, 2017
1.5 39% Brimstone (2017) [Koolhoven] presumably, intends to create a debate about women being rendered mute by men and religion, but sets about it in the most crass and on-the-nose way - via scold's bridles and tongue removal - never exploring the theme beyond the physical.‐ Eye for Film
Read More | Posted Sep 15, 2017
2.5/5 87% Custody (Jusqu'à la garde) (2017) Though a short film, even one of half-an-hour as Legrand's was, can be carried almost solely on this sort of tension, a feature needs something more. ‐ Eye for Film
Read More | Posted Sep 9, 2017
3/5 No Score Yet Under the Tree (Undir trénu) (2018) The tone is deliberately odd ... blending the naturalism of the day-to-day emotions of relationships and grief, with the altogether more heightened tensions of a revenge thriller, while still keeping a cheeky eye on the absurdity of a mooning garden gnome‐ Eye for Film
Read More | Posted Sep 2, 2017
4.5/5 100% The Farthest (2017) The documentary's greatest strength lies in the way Reynolds allows the scientific to mix with the philosophical and the deeply emotional. ‐ Eye for Film
Read More | Posted Aug 30, 2017
3.5/5 No Score Yet Edouard and Caroline (1950) The plot is as floaty as Caroline's evening gown but the joy is in the minutiae.‐ Eye for Film
Read More | Posted Aug 25, 2017
4/5 No Score Yet Laut bercermin (The Mirror Never Lies) (2011) A portrait of a community rarely explored on film with a strong narrative backbone, it marks Andini out as a talent to look out for.‐ Eye for Film
Read More | Posted Aug 19, 2017
4/5 100% Hotel Salvation (2017) Bhutiani gently probes at the relationships, letting his character-driven story develop at its own pace, without forcing either the emotion or humour.‐ Eye for Film
Read More | Posted Aug 19, 2017
4/5 No Score Yet Nebel im August (2016) Like the fog in August of its title, the horrors of Wessel's film don't come in a rush, but insinuate themselves gradually in what, initially, appears to be a comparatively benign setting before leaving you chilled to the bone.‐ Eye for Film
Read More | Posted Aug 19, 2017