Robert Wilonsky

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For 396 reviews, this critic has graded:
  • 31% higher than the average critic
  • 2% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 11.3 points lower than other critics. (0-100 point scale)

Robert Wilonsky's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Monsters, Inc.
Lowest review score: 0 The Sweetest Thing
Score distribution:
396 movie reviews
    • 75 Metascore
    • 100 Robert Wilonsky
    It's the most uplifting movie of a numbing year -- a feel-good film full of songs about feeling god-awful.
    • 69 Metascore
    • 100 Robert Wilonsky
    At last, his (Howard's) first great (and filling) movie--inspirational, yes, but far from hokey; moving, absolutely, but never saccharine; and gripping, despite its being a fixed fight.
    • 72 Metascore
    • 100 Robert Wilonsky
    This movie would be worth feting in any season. It's wrenching but never manipulative, stoic but never dull, exhausting but never wearying.
    • New Times (L.A.)
    • 83 Metascore
    • 100 Robert Wilonsky
    Where Peter was yee-ha giddy with the discovery of his newfound powers in the first film, he's crushed by the weight of responsibility that comes with them in its far superior successor.
    • 84 Metascore
    • 100 Robert Wilonsky
    The performances are uniformly remarkable.
    • 90 Metascore
    • 100 Robert Wilonsky
    May be the most wrenching, profound and perfectly made movie nobody wants to see.
    • 85 Metascore
    • 100 Robert Wilonsky
    What makes About Schmidt so extraordinary is how ordinary its tale is; it's a gray picture about gray people looking for some kind of meaning in their gray lives.
    • 82 Metascore
    • 100 Robert Wilonsky
    Treacherously funny and wrenchingly sad.
    • 89 Metascore
    • 100 Robert Wilonsky
    Feels like something entirely brand-new; such are the gifts of Kaufman and Gondry, inventors and magicians.
    • 78 Metascore
    • 100 Robert Wilonsky
    As giddy and antic as any great Warner Bros. cartoon of the 1930s and '40s -- it bears seeing more than once, if only to allow for the sight gags that play second fiddle to the plot, a rarity in animation -- but also resonant and real. In other words, it's the perfect movie.
    • 88 Metascore
    • 100 Robert Wilonsky
    How often does one see a masterpiece about a masterpiece?
    • 89 Metascore
    • 100 Robert Wilonsky
    Its exquisiteness can overwhelm in a single sitting.
    • 86 Metascore
    • 100 Robert Wilonsky
    It is a remarkable achievement in filmmaking, a beautiful and brutal work.
    • 72 Metascore
    • 90 Robert Wilonsky
    It's everything most movies this year have not been: deeply felt, genuine, gracious.
    • 73 Metascore
    • 90 Robert Wilonsky
    Virgin is astoundingly astute but also wondrously clever, written with more care and joy than any hundred comedies to come out of Hollywood in years.
    • 82 Metascore
    • 90 Robert Wilonsky
    That's what directors do when they have nothing new to say: They go back and rewrite the past, if only to avoid facing the future
    • 45 Metascore
    • 90 Robert Wilonsky
    That's all Full Frontal is: a brilliant gag at the expense of those who paid for it and those who pay to see it.
    • New Times (L.A.)
    • 74 Metascore
    • 90 Robert Wilonsky
    That he (Hetfield), and his band, still lives is astonishing enough; that you get to see how and why in a movie so painfully intimate is nothing short of extraordinary.
    • 69 Metascore
    • 90 Robert Wilonsky
    What makes Crash so gripping--so terrifying in spots, so moving in others, and even a little funny at times--is how nothing happens as we think it will.
    • 87 Metascore
    • 90 Robert Wilonsky
    One of the most remarkable things about Murderball, which is easily among the year's best movies, is how little of its time is filled with the playing of the game.
    • 69 Metascore
    • 90 Robert Wilonsky
    As he did in "Shaun of the Dead" and "Hot Fuzz", Wright immerses his heroes in pop culture's detritus and diversions, but doesn't drown them in it. You don't have to be dazzled or tickled by the movie, or get every joke, to be touched by it, too.
    • 90 Metascore
    • 90 Robert Wilonsky
    Yes, yes--The Incredibles is beautiful to look at, but even more lovely beneath the computer-generated surfaces.
    • 74 Metascore
    • 90 Robert Wilonsky
    It's vibrant and verdant and heartbreakingly inviting, begging you to escape into a lovely tale in which children, through a simple act of faith, find their own heaven on earth.
    • 84 Metascore
    • 90 Robert Wilonsky
    The film, from its deadpan start to its languorous finish, provides the most joyous moviegoing experience in years.
    • 82 Metascore
    • 90 Robert Wilonsky
    There's something more REAL about this version, more human, more lived-in; though their words may have been penned 200 years ago, when Austen was a young woman writing about her idealized self, this cast and crew nudge the material into the now.
    • 70 Metascore
    • 90 Robert Wilonsky
    As surreal as it is obscene, as clever as it is crude. It plays like some raw offspring of underground comix and the comedies of the 1920s.
    • 75 Metascore
    • 90 Robert Wilonsky
    Engaging and revelatory, turning forgotten footnotes and discarded minutiae into the stuff of riveting drama and poignant laughs.
    • 85 Metascore
    • 90 Robert Wilonsky
    The film is a whirlwind blur, a kinetic thrill ride through the industrial backwater that was one of punk and post-punk's most fertile Promised Lands: Manchester.
    • New Times (L.A.)
    • 64 Metascore
    • 90 Robert Wilonsky
    Identity is an outright blast, so fun it's--pardon--scary.
    • 92 Metascore
    • 90 Robert Wilonsky
    De Sica's 1952 neorealist masterpiece; it's a stark snapshot in which all is revealed about the "daily life of mankind," as the director once offered by way of description.

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