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
3/5 60% Making Noise Quietly (2019) "We make allowances for the lack of conversational padding in theatre but in the more naturalistic setting of cinema some of this is too hard and fast - especially in the final third. - Eye for Film EDIT
Read More | Posted Jul 19, 2019
3/5 72% The Command (Kursk) (2019) It's all perfectly watchable but hampered by cliche and a feeling of a filmmaking team treading so carefully they struggle to leave a mark. - Eye for Film EDIT
Read More | Posted Jul 18, 2019
4/5 75% Synonyms (Synonymes) (2019) The film is held together less by the tale than by tensions. - Eye for Film EDIT
Read More | Posted Jul 12, 2019
3/5 No Score Yet Carmilla (2019) Harris drinks deep of the novella's sapphic themes to present a tale of obsession and fear of 'the other' but though the end result is well turned out in terms of look and performance, it could use a little less corseting and a lot more bite. - Eye for Film EDIT
Read More | Posted Jul 3, 2019
3.5/5 80% Strange But True (2019) If the action loses some of its enjoyably cool composition, it still grips until the last. - Eye for Film EDIT
Read More | Posted Jul 1, 2019
4/5 100% Bulbul Can Sing (2018) "A river must be herself," someone says and yet the adults here want to channel their children in into their own image - at almost any cost. - Eye for Film EDIT
Read More | Posted Jun 25, 2019
4/5 No Score Yet Zero Impunity (2019) Western documentary regulars may feel as though they are in familiar territory at the start of the film, which begins by focusing on Syria - but soon the violence considered will come a lot closer to home. - Eye for Film EDIT
Read More | Posted Jun 12, 2019
4/5 100% Advocate (2019) The very nature of Tsemel's passion for her projects makes this a compelling watch. - Eye for Film EDIT
Read More | Posted Jun 5, 2019
3.5/5 83% Oleg (2019) Ogrodnik - so impressive in 2017's Silent Night - is magnetic again here as minor criminal Andrzej, flipping between aggression and comradeship with the ease of the click of a TV remote. - Eye for Film EDIT
Read More | Posted Jun 2, 2019
4.5/5 97% Thunder Road (2018) From the beginning, Cummings gives his character, and us, a full emotional workout. - Eye for Film EDIT
Read More | Posted May 31, 2019
2.5/5 60% Sick, Sick, Sick (Sem seu sangue) (2019) Alice Furtado... takes a dreamy approach to obsession that, while it might have worked in the short form of filmmaking she is more used to, struggles to sustain the 100-minute runtime. - Eye for Film EDIT
Read More | Posted May 24, 2019
3.5/5 100% The Proposal (2019) This builds into a compelling combination of personal film essay and tense drama as Magid's audacious plan comes to fruition. - Eye for Film EDIT
Read More | Posted May 24, 2019
4/5 97% Booksmart (2019) It's funny because, beneath the humour, is a the ring of truth as loud as a school bell. - Eye for Film EDIT
Read More | Posted May 24, 2019
3/5 56% Aladdin (2019) If I had a magic lamp and three wishes, after the whole ending war and famine stuff, I'd use one to wish that Disney think long and hard about these live-action remakes. - Eye for Film EDIT
Read More | Posted May 24, 2019
4.5/5 90% Rocketman (2019) Fletcher and his star Taron Egerton fling themselves flamboyantly into John's life, riffing on events, giving them a surreal spin but always keeping how John is feeling about each moment front and centre. - Eye for Film EDIT
Read More | Posted May 24, 2019
4/5 100% Litigante (2019) Lolli has a looseness to his direction that adds to the vérité feel and he has a knack for capturing the natural moments children can create that often pass unnoticed. - Eye for Film EDIT
Read More | Posted May 16, 2019
3.5/5 89% The Unknown Saint (Le miracle du saint inconnu) (2019) The situation is ripe with ridiculousness, but Aljem shows a lot of restraint. His scenes are shot in a spare way, with minimal clutter and he's happy to wait for a joke to pay off. - Eye for Film EDIT
Read More | Posted May 16, 2019
3.5/5 53% Destination Wedding (2018) While not particularly visually inventive, the director has a keen eye for the casually absurd, so that every setting he puts his characters in comes with just the right amount of daftness. - Eye for Film EDIT
Read More | Posted May 10, 2019
4/5 67% Pokémon Detective Pikachu (2019) The noir element is lightened considerably by the film's other big debt - to the antics of Warner Brothers' cartoons past - with the characters frequently finding themselves in enjoyably absurd situations. - Eye for Film EDIT
Read More | Posted May 9, 2019
4/5 100% 17 Blocks (2019) There's a searing honesty and immediacy about the footage. - Eye for Film EDIT
Read More | Posted May 3, 2019
3.5/5 100% Maboroshi no hikari (Maborosi) (Illusion) (1995) Generally, this film engages more intellectually with emotion than Kore-eda's later more heartfelt work. - Eye for Film EDIT
Read More | Posted May 2, 2019
3/5 100% Making Waves: The Art of Cinematic Sound (2019) As an introduction to the world of sound in the cinema, this film ticks the boxes but it doesn't quite make the waves it promises. - Eye for Film EDIT
Read More | Posted May 1, 2019
3.5/5 100% Recorder: The Marion Stokes Project (2019) Wolf and his top-notch editor Keiko Deguchi build a picture of both a life consumed by news and the way that news has, in some ways, come to consume all our lives with its 24-hour cycle. - Eye for Film EDIT
Read More | Posted Apr 28, 2019
3.5/5 94% Styx (2019) The economy with which Fisher tells us all this is impressive with a map here and a book spine there telling most of the story. - Eye for Film EDIT
Read More | Posted Apr 26, 2019
4/5 100% Ága (2019) Lazarov lets his tale unfold gradually like a gentle thaw - Eye for Film EDIT
Read More | Posted Apr 19, 2019
4/5 73% Troop Zero (2019) What really matters is the positive energy - from the scripting to the lively colour scheme, there's a sense of maximum fun being had by all concerned at all times. - Eye for Film EDIT
Read More | Posted Apr 19, 2019
4/5 94% One Child Nation (2019) Wang and Zhang are to be commended for fitting as much in as they do, even if it does mean the film roams about rather than having a single focus. - Eye for Film EDIT
Read More | Posted Apr 4, 2019
3.5/5 100% Midnight Family (2019) By keeping the camera in the back of the ambulance largely at a level above that of the various patients, Lorentzen ensures the film never becomes voyeuristic. - Eye for Film EDIT
Read More | Posted Apr 4, 2019
5/5 100% Honeyland (2019) The directors let the humanism shine out without resorting to sentimentality, capturing moments of joy, such as the pleasure of shared, sticky honey with the same lack of artifice as moments of pain or grief. - Eye for Film EDIT
Read More | Posted Apr 2, 2019
3/5 90% Koko-di Koko-da (2019) One of the issues with The Giant was that it was so structurally loose it started to flap about - here the opposite problem applies, as Nyholm is so rigorous in form that the brutal repetition begins to undermine the film's emotional resonance. - Eye for Film EDIT
Read More | Posted Mar 30, 2019
3.5/5 83% Ayka (2018) They say it's the hope that kills you and Dvortsevoy lets enough light in to emphasise her plight. - Eye for Film EDIT
Read More | Posted Mar 29, 2019
4/5 No Score Yet Lysis (2018) The improvised nature of the script also works in its favour, with the unpredictability for the actors themselves translating to tension on the screen. - Eye for Film EDIT
Read More | Posted Mar 29, 2019
2.5/5 57% The Highwaymen (2019) The title suggests derring-do, when No Country For Grumpy Old Men would better set the mood. - Eye for Film EDIT
Read More | Posted Mar 29, 2019
4/5 95% Monos (2019) Landes' film has the queasy, uneasy feel of a nightmare - and that's before magic mushrooms are involved. - Eye for Film EDIT
Read More | Posted Mar 11, 2019
3/5 No Score Yet Deep Rivers (Glubokie reki) (2018) Bitokov develops the shifting, brooding relationships of the men well but other elements of the story are given short shrift. - Eye for Film EDIT
Read More | Posted Mar 7, 2019
3.5/5 66% The White Crow (2019) Interestingly, at the Scottish premiere at Glasgow Film Festival, Hare noted that he would have liked more to have been cut from the film - Fiennes should have listened. - Eye for Film EDIT
Read More | Posted Feb 26, 2019
4/5 100% Erased, Ascent of the Invisible (Tirss, rihlat alsoo'oud ila almar'i) (2018) The nature of erasure and memory rubs up against ideas of collective guilt in Ghassan Halwani's measured and moving documentary. - Eye for Film EDIT
Read More | Posted Feb 23, 2019
4/5 88% The Third Wife (2019) Mayfair treats her scenes of sex and desire with restraint, using juxtaposition to evoke mood - Eye for Film EDIT
Read More | Posted Feb 21, 2019
3/5 43% White Chamber (2019) Just as you begin to worry that the conceit might not last the running time, things move in a different and unexpected direction. - Eye for Film EDIT
Read More | Posted Feb 20, 2019
4/5 95% Yuli (2018) It's in dance that the film's strength lies, illustrating, through choreography, Acosta's more abstract - and more negative - emotions, including fear, loneliness and lust. - Eye for Film EDIT
Read More | Posted Feb 20, 2019
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 83% 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
4/5 100% 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 96% 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 68% 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 86% 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 83% 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 87% 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