Amber Wilkinson

Amber Wilkinson
Tomatometer-approved critic
Publications: iofilm.co.uk, Eye for Film
Critics' Group: Online Film Critics Society
Location: Edinburgh

movie Reviews Only

T-Meter Title | Year Review
3.5/5 94% Blindspotting (2018) Has the high-energy crackle and syncopated rhythms of a rap battle, with its buddy comedy format sharing the stage and trading rhymes and times with its deeper societal commentary element to nimble effect. - Eye for Film EDIT
Read More | Posted Feb 18, 2019
3/5 No Score Yet Marighella (2019) Credit to the actor-turned-director for thinking big with his first directorial project but in pursuit of the bigger picture, quite a lot of the smaller intricacies are lost. - Eye for Film EDIT
Read More | Posted Feb 18, 2019
4/5 No Score Yet Flesh Out (2019) chipinti's film benefits from a strong documentary underpinning - with the lead actress saying that 70 per cent of what occurs is based on her own story at the film's Berlin screening - showing how strong cultural expectations like this can be. - Eye for Film EDIT
Read More | Posted Feb 18, 2019
4/5 100% Varda by Agnès (2019) A charming and playful consideration of her career. - Eye for Film EDIT
Read More | Posted Feb 18, 2019
4/5 100% A Bread Factory, Part One: For the Sake of Gold (2018) The meat of A Bread Factory lies in the details. - Eye for Film EDIT
Read More | Posted Feb 8, 2019
4.5/5 100% Midnight Traveler (2019) Unlike a more conventional refugee documentary - shot by an outsider parachuting in - this is an intimate and ongoing study in which the family have complete agency, lending the film an additional ring of truth. - Eye for Film EDIT
Read More | Posted Feb 8, 2019
3.5/5 54% Them That Follow (2019) In terms of mood, directors Britt Poulton and Dan Madison Savage do a lot with a little, allowing the plot to coil round the characters. - Eye for Film EDIT
Read More | Posted Feb 8, 2019
3.5/5 90% Top End Wedding (2019) Blair's sharp injection of pace helps to zip past any cliches so fast that you don't have much time to register them. - Eye for Film EDIT
Read More | Posted Feb 8, 2019
3/5 78% Share (2019) The director likes impressionistic shots, making much of street lights on wet car window panes and the blinking lights of Mandy's hypnotherapy sessions but there's only so much of Mandy staring into space that we can take. - Eye for Film EDIT
Read More | Posted Feb 8, 2019
4/5 85% Stieg Larsson - The Man Who Played With Fire (2019) Over the course of 95 minutes, we'll come to learn that the writer was, in some ways, a canary in the coal mine of today's rise in extreme right-wing views and the way many who espouse them have latched on to populist agendas in modern politics - Eye for Film EDIT
Read More | Posted Jan 28, 2019
3.5/5 86% Shooting the Mafia (2019) Longinotto has always had a knack for getting interviewees to open up in such a way that even they can seem surprised at what they end up saying. - Eye for Film EDIT
Read More | Posted Jan 27, 2019
4/5 95% An Elephant Sitting Still (Da xiang xi di er zuo) (2018) Despite its grey, flat light and general melancholy punctured by menace, An Elephant Sitting Still is, by the end considerably more optimistic than it first appears about humanity. - Eye for Film EDIT
Read More | Posted Jan 14, 2019
3.5/5 No Score Yet Wild Relatives (2017) There's not just information being imparted but a sense of Manna's artistic eye for interconnections, as these two very different worlds are brought together by images of nature and the weather. - Eye for Film EDIT
Read More | Posted Jan 3, 2019
4/5 97% Hale County This Morning, This Evening (2018) By looking at what would lie outside of the traditional framework of most documentaries, Ross builds a much more absorbing picture of people fully embedded within an environment. - Eye for Film EDIT
Read More | Posted Dec 16, 2018
4/5 100% The Judge (2018) Kohn makes good directorial choices ... intercutting interviews, so that they seem more like a dialogue, following Al-Faqih as she walks about to avoid the 'talking head' feel and inserting aerial footage to bolster the sense of movement. - Eye for Film EDIT
Read More | Posted Nov 22, 2018
3.5/5 100% Strange Colours (2018) The plot as a whole is less like a conventional story and more akin to the plot of land on which Max's home sits, waiting for the tales of the characters to grow on it organically." - Eye for Film EDIT
Read More | Posted Nov 21, 2018
4/5 100% All Good (Alles gut) (2018) Trobisch lets the normality bite. - Eye for Film EDIT
Read More | Posted Nov 20, 2018
4/5 89% Diamantino (2018) Abrantes and Schmidt keep things light and constantly inventive, but Diamantino's perpetual selflessness makes the darker satire about the creep of right-wing 'build that wall' ideology bite deep. - Eye for Film EDIT
Read More | Posted Nov 19, 2018
3.5/5 60% A Faithful Man (L'homme fidèle) (2018) Garrel knows his film is a confection rather than a banquet, so keeps things moving along at a serious clip. - Eye for Film EDIT
Read More | Posted Nov 17, 2018
3.5/5 No Score Yet Giliap (1975) Although there's no doubting the film's tragic trajectory, it's the hope - of a kiss, of cash, of a new life - that might kill us, or cure us, before the summer season is over. - Eye for Film EDIT
Read More | Posted Nov 17, 2018
4.5/5 91% Widows (2018) Recent Hollywood heist films - typified by the Ocean's franchise - have been largely concerned with shiny surfaces, gloss and froth but Steve McQueen is much more interested in what lies beneath in his gritty, gripping addition to the genre. - Eye for Film EDIT
Read More | Posted Nov 9, 2018
4/5 95% In Fabric (2018) You might not think you're in the mood for buying, but Peter Strickland's extravagant sales pitch is likely to win you over by the end. - Eye for Film EDIT
Read More | Posted Nov 6, 2018
3.5/5 100% Journey to a Mother's Room (Viaje al cuarto de una madre) (2018) Clavellino's approach is unsentimental and all the more believable for that. - Eye for Film EDIT
Read More | Posted Nov 6, 2018
4/5 83% The Realm (El reino) (2018) When it comes to generating tension, Rodrigo Sorogoyen and his co-writer Isabel Peña start from a place where the screw is turned and, when you think they can't get it any tighter, find new ways to increase the tension - matching their torque with action - Eye for Film EDIT
Read More | Posted Nov 5, 2018
4/5 100% Nae Pasaran (2018) The journey to this point for Sierra speaks of the passion project that it is - and the film benefits hugely from his engagement with the emotional aspects of the story. - Eye for Film EDIT
Read More | Posted Nov 2, 2018
3.5/5 80% Distant Constellation (2018) This is an intimate and contemplative film that seeks to gently observe and listen. - Eye for Film EDIT
Read More | Posted Nov 1, 2018
2.5/5 63% Peterloo (2019) In his desire to inform our heads, Leigh often forgets that he needs to engage our hearts us as well. - Eye for Film EDIT
Read More | Posted Oct 30, 2018
4/5 No Score Yet Secret Ingredient (Iscelitel) (2017) For Stavreski, its character first and plot second while social commentary comes along for the ride, as he focuses on the dad and son relationship at the film's heart. - Eye for Film EDIT
Read More | Posted Oct 29, 2018
4/5 100% The Chambermaid (La camarista) (2018) This is a quiet movie, which never loses its focus on its central character study, while allowing points about economic and social inequalities to sound out loud and clear. - Eye for Film EDIT
Read More | Posted Oct 26, 2018
2/5 No Score Yet Solis (2018) The pacing, like Holloway, is out of control, sometimes racing along but, more often, hanging about for no apparent reason. - Eye for Film EDIT
Read More | Posted Oct 25, 2018
4.5/5 91% Another Day of Life (2017) Measured but naturally emotional recollections dovetail with the more impressionistic animated segments to scrutinise the psyche of war. - Eye for Film EDIT
Read More | Posted Oct 23, 2018
3/5 No Score Yet Searching for Fortune (2017) This is a solid achievement all round and particularly notable for Smolensky's nuanced performance, which should act as a calling card for more feature roles in the future. - Eye for Film EDIT
Read More | Posted Oct 18, 2018
3/5 79% Dogman (2019) If you've ever wondered what it might have been like to see Peter Sellers get trapped in a mafia movie while channelling Peter Lorre, Dogman offers some sort of answer. - Eye for Film EDIT
Read More | Posted Oct 16, 2018
4.5 92% Life and Nothing More (La Vida y Nada Más) (2018) While Esparza's exploration of the passive aggressiveness of white privilege is blisteringly good, he stitches these everyday prejudices into the broader landscape of their lives and his film is richer for it. - Eye for Film EDIT
Read More | Posted Oct 12, 2018
4/5 75% Bad Times at the El Royale (2018) A thriller that, although it could have done with judicious editing at the beginning and end, nonetheless delivers laughs, shocks and, most importantly, that sense of satisfaction that only comes when puzzle pieces come together with a resounding click - Eye for Film EDIT
Read More | Posted Oct 9, 2018
2.5/5 83% Blind Spot (2018) The veneer of technical excellence it never quite takes your mind off the lack of substance beneath. - Eye for Film EDIT
Read More | Posted Oct 6, 2018
3/5 80% Alpha, The Right to Kill (2018) Although strong in its documentary feel and scathing in its message, it otherwise runs through the Alpha to Omega of predictable thriller elements. - Eye for Film EDIT
Read More | Posted Oct 4, 2018
2.5/5 69% Beautiful Boy (2018) Because he starts from a place of quite high emotion in terms of the music cues, Groenigen and his collaborators have to give us increasingly bigger 'fixes' in a bid to generate additional empathy. - Eye for Film EDIT
Read More | Posted Oct 4, 2018
4/5 100% Manta Ray (2018) As Aroonpheng slowly but surely breaks our hearts across his measured 105-minute running time, he also shows that you don't need water to find yourself drowning. - Eye for Film EDIT
Read More | Posted Sep 14, 2018
3.5/5 91% Hal (2018) Though it brings "18 tons of peace and love" to the man's memory, it only feels like part of the story - Eye for Film EDIT
Read More | Posted Sep 10, 2018
4/5 100% Anons (2018) Recalling the bone-dry wit of the likes of Pablo Larrain mixed with a dash of the absurdity of Samuel Beckett, this is as much a waiting game as an action plan. - Eye for Film EDIT
Read More | Posted Sep 7, 2018
3/5 No Score Yet Jose (2018) Although the story is slight, Cheng treats the subject matter with care, allowing a slow but certain heat to build between José and Luis - Eye for Film EDIT
Read More | Posted Sep 6, 2018
4/5 No Score Yet Tel Aviv on Fire (2018) Zoabi uses farcical comedy as his warm-hearted messenger, presenting his argument with a disarming hug and a surprising dash of romance. - Eye for Film EDIT
Read More | Posted Sep 5, 2018
3.5/5 No Score Yet Truk (L'enkas) (2018) Where most films of this ilk are driven by aggression, Marx instead pushes hers forward with a mix of melancholy, quiet desperation and futility. - Eye for Film EDIT
Read More | Posted Sep 1, 2018
3.5/5 No Score Yet Baronesa (2017) The scenario building has the benefit of allowing Antunes to focus sharply in on the difficulties faced by women in the violent favelas in ways that pure documentary would not. - Eye for Film EDIT
Read More | Posted Aug 24, 2018
3.5/5 75% Mug (Twarz) (2018) Following in a fine tradition of 'the grotesque' stretching back into fairy tale, Jacek may face physical deformity ... but he remains a warm and upbeat character, while the moral ugliness of those around him ... is accentuated in relief. - Eye for Film EDIT
Read More | Posted Aug 14, 2018
3.5/5 70% Double Lover (L'amant double) (2018) If there is rather more surface than substance and the ending is signposted, it is a surface full of intricacy and a signpost of admirable elegance. - Eye for Film EDIT
Read More | Posted Aug 11, 2018
3.5/5 92% Hearts Beat Loud (2018) Confection light, this is a perfect film for our long, hot summer that leaves a honeyed taste of warm nostalgia even as its specifics melt from the memory. - Eye for Film EDIT
Read More | Posted Aug 5, 2018
3.5/5 No Score Yet The Goalie's Anxiety at the Penalty Kick (Die Angst des Tormanns beim Elfmeter) (1977) This is toxic masculinity masquerading as boredom, with Wenders' refusal to give it emotional adornment only adding to the sense of existential strangeness of the whole affair. - Eye for Film EDIT
Read More | Posted Aug 4, 2018
4/5 No Score Yet Volcano (2018) Bondarchuk subverts the idea of Kafka - rather than this proving to be hell, there's an increasing sense that a loss of structure could be less a tearing down of Lukas' life than an opportunity to build something different. - Eye for Film EDIT
Read More | Posted Jul 31, 2018