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
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 75% 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 86% 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
4/5 100% 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 88% 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 94% 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
4/5 76% Suntan (2017) Mid-life crisis has rarely felt so queasy as it does in Argyris Papadimitropoulos character stud, which features humour so dark you can feel it closing in around you.‐ Eye for Film
Read More | Posted Apr 28, 2017
1.5/5 No Score Yet Resilience (2016) The heart of James Redford's documentary about toxic stress and its affect on physical health is in the right place but the execution never rises above the pedestrian.‐ Eye for Film
Read More | Posted Apr 24, 2017
2/5 46% The Sweeney (2013) Love may have plonked his protagonists in the modern world but they still feel trapped in a long-gone era, when police brutality was commonplace and women knew their place. ‐ Eye for Film
Read More | Posted Apr 23, 2017
3/5 77% Beatriz at Dinner (2017) The satire feels a bit like shooting fish in a barrel, with Strutt so monstrous he's an easy target.‐ Eye for Film
Read More | Posted Apr 20, 2017
4/5 87% Wind River (2017) The film is well-served by its genre action sequences but it's the traces of grief that linger longest, like footsteps in the snow.‐ Eye for Film
Read More | Posted Apr 20, 2017
3/5 85% The Transfiguration (2017) Don't be suckered in by the promises of bloodsucking. ‐ Eye for Film
Read More | Posted Apr 16, 2017
3/5 83% Black Code (2016) Cinematographer-turned-documentarian de Pencier has an eye for a good image but less of an ear for consistent argument.‐ Eye for Film
Read More | Posted Apr 12, 2017
4/5 88% Alice Doesn't Live Here Anymore (1974) Scorsese's direction isn't showy but he keeps his camera fluid, giving scenes a sense of movement even when the characters are static.‐ Eye for Film
Read More | Posted Apr 8, 2017
2.5/5 67% Dara Ju (2017) The large amount of plot poses two problems for the fledgling director, in that it's hard to fit all the character and story development into the 90-minute runtime and, as the film progresses, he also finds it difficult to decide where his focus lies.‐ Eye for Film
Read More | Posted Apr 8, 2017
3.5/5 71% Who's That Knocking at My Door? (1967) Inevitably, not all of this works, but there is rarely a dull moment.‐ Eye for Film
Read More | Posted Apr 3, 2017
3.5/5 78% Monsters University (2013) Monsters University doesn't keep the faith, laying the creatures on thick and fast. It's not that the new crowd aren't fun, but they're a distraction‐ Eye for Film
Read More | Posted Apr 1, 2017
4/5 82% Witching and Bitching (2014) A messy but highly enjoyable romp that takes a sideswipe at modern Spanish attitudes and the country's economic turmoil.‐ Eye for Film
Read More | Posted Apr 1, 2017
3/5 55% Cannibal (2014) Worth seeing for its gripping central performances and Cuenca's impressive camerawork - signposting better films from him to come - even though the story lacks killer instinct.‐ Eye for Film
Read More | Posted Apr 1, 2017
2.5/5 No Score Yet For Those Who Can Tell No Tales (2014) While there is no doubting the admirable intentions of Vercoe's idea, the end result feels far too focused on her response to what happened than on the more universal impact of the events themselves.‐ Eye for Film
Read More | Posted Apr 1, 2017
4/5 100% Menashe (2017) Rather than pick apart rituals... Weinstein simply lets us see them in action as part of the natural fabric of Menashe's life.‐ Eye for Film
Read More | Posted Mar 30, 2017
3/5 No Score Yet Tony Conrad: Completely in the Present (2016) Two things shine out from Tyler Hubby's documentary feature debut about filmmaker/composer and general avant-garde maverick Tony Conrad - the playfulness of the man himself and, in terms of his work, his bloody-minded patience.‐ Eye for Film
Read More | Posted Mar 30, 2017
3.5/5 97% The Big Sick (2017) Each of the characters here, presumably because they are rooted in truth, is given room to breathe and shows an ability to be changed by circumstance.‐ Eye for Film
Read More | Posted Mar 30, 2017
2.5/5 17% Rememory (2017) The machine here proves to be little more than a MacGuffin for a murder mystery set-up and a side helping of sentimental stodge.‐ Eye for Film
Read More | Posted Mar 18, 2017
4/5 80% Beach Rats (2017) British actor Dickinson - surely on the first step to a lot more film roles - slides seamlessly into Frankie's groove, the accent and the body language spot on. ‐ Eye for Film
Read More | Posted Mar 10, 2017
4.5/5 100% The White Helmets (2016) The scenes of the rescuers in their off-hours show the long reach of the war, with the night's spent anxiously watching television news of the bombardment or phoning family and friends to make sure they're alive.‐ Eye for Film
Read More | Posted Feb 27, 2017
3/5 86% Divines (2016) Like many debut filmmakers, Benyamina has the urge to cram in as many ideas and styles as possible, as though fearing she may never get another chance.‐ Eye for Film
Read More | Posted Feb 25, 2017
3.5/5 65% Patti Cake$ (2017) his film has plenty of hustle even though it sometimes lacks flow.‐ Eye for Film
Read More | Posted Feb 24, 2017
3.5/5 100% Tickling Giants (2017) In the wake of the election of Donald Trump as president - and his open attacks on what he terms "fake media" - the film also acquires an added resonance.‐ Eye for Film
Read More | Posted Feb 21, 2017
4.5/5 No Score Yet The Good Postman (2016) Hristov stands back and silently observes as the election campaign plays out, showing rather than telling, how much economic circumstances can drive both word and deed.‐ Eye for Film
Read More | Posted Feb 18, 2017
2.5/5 38% Fun Mom Dinner (2017) Set in the sort of all-white suburbia that you rather hoped had disappeared years ago, Alethea Jones' comedy, written by Julie Rudd - both making their feature debut here - broadly goes where others have gone before.‐ Eye for Film
Read More | Posted Feb 10, 2017
4/5 76% Berlin Syndrome (2017) The sex element, while erotically shot, is almost exclusively reserved for the moment in which Clare was enjoying the experience, thus stripping away the usual voyeuristic downside that often accompanies this genre.‐ Eye for Film
Read More | Posted Feb 10, 2017
3/5 60% Winnie (2017) There is reluctance on the part of Lamche to say too much about some of the more murky areas of Winnie's life.‐ Eye for Film
Read More | Posted Feb 10, 2017
4/5 100% Quest (2017) Olshefski's love of the family shines bright and proves infectious.‐ Eye for Film
Read More | Posted Feb 10, 2017
3/5 64% The Polka King (2017) Maya Forbes and Wallace Wolodarsky... love their protagonist just a bit too much.‐ Eye for Film
Read More | Posted Feb 10, 2017
4/5 82% Marjorie Prime (2016) The narrative depth also accrues gently, like sedimentary layers, as the film progresses, looking deceptively slight at first but gradually building into something more profound.‐ Eye for Film
Read More | Posted Feb 2, 2017
4/5 83% The Wound (Inxeba) (2017) Trengove strikes a good balance between showing the cultural importance, even though on the wane, of old-fashioned masculinity and personal drama between Xolani and Kwanda, slowly ratcheting up the tension to breaking point.‐ Eye for Film
Read More | Posted Feb 1, 2017
3/5 70% An Inconvenient Sequel: Truth To Power (2017) This documentary feels confined by constraints that should have been stripped away in the filming process.‐ Eye for Film
Read More | Posted Feb 1, 2017
4/5 75% The Workers Cup (2017) Sobel doesn't invite us to pity these men but rather to listen to what they have to say.‐ Eye for Film
Read More | Posted Feb 1, 2017
3/5 85% Pop Aye (2017) This may ultimately be little more than a shaggy elephant story but it has a big heart, a belief in the generosity of strangers and a winningly upbeat philosophy.‐ Eye for Film
Read More | Posted Feb 1, 2017
4.5/5 98% Moonlight (2016) Jenkins doesn't just show us the experience of his young protagonist, he bathes us in it.‐ Eye for Film
Read More | Posted Jan 8, 2017
4/5 94% Life, Animated (2016) This is not about once upon a times or fairy tale endings but the challenges on the way and it stands as a testament to the love and determination of every member of the Suskind family.‐ Eye for Film
Read More | Posted Nov 30, 2016
3/5 80% Colossal (2017) Vigalondo's film is very funny in places but the characters are undercooked.‐ Eye for Film
Read More | Posted Nov 24, 2016
3.5 60% Orphan (Orpheline) (2016) This film, like it's central character is wilfully complex and surprisingly fluid, wrong-footing us as we try to fill in the spaces between each vignette at the same time as drawing us to its thriller component.‐ Eye for Film
Read More | Posted Nov 17, 2016
4.5/5 84% The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble (2016) Neville weaves the strands of his documentary together like the silk of its title, connecting disparate ideas to create a concept of culture that is strong, attractive and, above all, still of great use to humanity.‐ Eye for Film
Read More | Posted Nov 15, 2016