Amber Wilkinson Movie Reviews & Previews - Rotten Tomatoes

Amber Wilkinson

Amber Wilkinson
Amber Wilkinson's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
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 59% 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 88% 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 No Score Yet 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 No Score Yet 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 94% 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 97% 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 83% 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 57% 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 (2017) 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 67% 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 95% 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 58% 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 80% 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 80% 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 38% 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 86% 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) (2017) 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
2.5/5 50% N.F.A. (No Fixed Abode) (2012) The scenario would probably have worked more successfully as a two or three-part BBC miniseries, where the ideas could be explored more thoroughly.‐ Eye for Film
Read More | Posted Aug 5, 2017
4/5 No Score Yet Au Pair (2012) A portrait of powerlessness and personal tragedies emerges at the same time as celebrating the au pairs' determination and fortitude. ‐ Eye for Film
Read More | Posted Aug 3, 2017
3.5/5 88% The Unspeakable Act (2013) Sallitt has a good line in barbed wit, whether capturing the intricacies and absurdities of losing your virginity in someone's car or caustically examining Jackie's thoughts on the world.‐ Eye for Film
Read More | Posted Aug 3, 2017
4/5 74% Spoor (Pokot) (2017) It has the ungainly but attractive ambience of an old fairy tale being passed down through the generations, becoming more and more embellished on each retelling‐ Eye for Film
Read More | Posted Aug 3, 2017
2.5/5 77% Final Portrait (2017) Just because you signal to an audience that you're purposefully making them watch paint dry does not make the experience of it any less tedious.‐ Eye for Film
Read More | Posted Aug 3, 2017
4/5 83% Tom of Finland (2017) Although much of Laaksonen's work was hardcore, Karukoski doesn't seek to 'shock' audiences with outrageousness, instead gracefully zoning in on the man and his life to celebrate his both his bravery and his art. ‐ Eye for Film
Read More | Posted Jul 28, 2017
4/5 100% Bad Day for the Cut (2017) Baugh and his co-writer Brendan Mullin have a good feel for how they can push the absurdity of the situation without turning the whole thing into farce. ‐ Eye for Film
Read More | Posted Jul 27, 2017
3/5 69% Pilgrimage (2017) Muldowney takes things seriously, with cinematographer Tom Comerford using the lowering skies and boggy heaviness to his advantage.‐ Eye for Film
Read More | Posted Jul 25, 2017
4/5 80% Where Is Kyra? (2017) This is life on a knife-edge and it cuts accordingly.‐ Eye for Film
Read More | Posted Jul 25, 2017
2.5/5 85% In Syria (Insyriated) (2017) What happens next is intended to highlight a moral crisis ... but there is no nuance to its brutal execution, making it not only hard to watch but even harder to believe. ‐ Eye for Film
Read More | Posted Jul 24, 2017
2.5/5 50% England Is Mine (2017) Throughout the film, there's a feeling that the writers are picking their way gingerly through a minefield of possible problems, thereby failing to commit fully to the character of Steven Morrissey.‐ Eye for Film
Read More | Posted Jul 18, 2017
2.5/5 77% The Little Hours (2017) The piecemeal nature of Giovanni Boccaccio's source material only adds to the sketch show feel, with as many moments missing the mark as hitting it.‐ Eye for Film
Read More | Posted Jul 17, 2017
3/5 87% The Midwife (Sage femme) (2017) The acting is of high quality, with Frot shading just enough warmth and melancholy into Claire to stop her becoming a total wet blanket... Deneuve, throwing caution to the wind‐ Eye for Film
Read More | Posted Jul 17, 2017
5/5 100% A Private Function (1985) Bennett's script gently mocks his characters, while also maintaining a level of understanding. ‐ Eye for Film
Read More | Posted Jul 17, 2017
4/5 99% City of Ghosts (2017) Heineman and the powerful footage captured by RBBSS, remind us that the deaths aren't just news statistics, each one carries a human face.‐ Eye for Film
Read More | Posted Jul 13, 2017
3.5/5 83% Santoalla (2017) Though the middle of the film becomes rather to languorous for its own good, a sudden late injection of pace and incident forcefully restores momentum. ‐ Eye for Film
Read More | Posted Jul 13, 2017
4/5 99% God's Own Country (2017) Joshua James Richards is, after Songs My Brothers Taught Me and this, a cinematographer to watch, who grasps the wildness of open spaces with a poetic lens. ‐ Eye for Film
Read More | Posted Jun 19, 2017
3/5 No Score Yet Dispossession: The Great Social Housing Swindle (2017) The opinions of those who live -- or in many cases have been forced out -- of social housing are one of the film's strengths, highlighting the way that these sell-offs can dismantle communities as well as the buildings they live in.‐ Eye for Film
Read More | Posted Jun 19, 2017
3/5 No Score Yet The End of the Lonely Island (2016) Although it runs at just over an hour, its trim length allows Wang to keep his themes concentrated and means that the rather 'talky' nature of the action doesn't outstay its welcome too much.‐ Eye for Film
Read More | Posted May 6, 2017
3/5 No Score Yet The Erlprince (2016) We don't just see this teenager grow up, we are buffeted and tossed by the experience.‐ Eye for Film
Read More | Posted May 6, 2017
5/5 100% Last Men in Aleppo (2017) Last Men In Aleppo urges us to see the reality behind the news.‐ Eye for Film
Read More | Posted May 3, 2017