Alissa Wilkinson
Senior Correspondent + Critic
covers movies and culture for Vox. Since 2006, her work has appeared in Rolling Stone, Bon Appétit, the Washington Post, Vulture, RogerEbert.com, the Atlantic, Books & Culture, the Los Angeles Review of Books, Paste, Pacific Standard, and others. Alissa is a member of the New York Film Critics Circle and the National Society of Film Critics, and was a 2017-18 Art of Nonfiction writing fellow with the Sundance Institute. Before joining Vox, she was the chief film critic at Christianity Today.
Alissa’s book We Tell Ourselves Stories is forthcoming from Liveright, and her book Salty: Lessons on Eating, Drinking, and Living from Revolutionary Women (Broadleaf) was released in June 2022. She is also the co-author, with Robert Joustra, of How to Survive the Apocalypse: Zombies, Cylons, Faith, and Politics at the End of the World (Eerdmans, 2016). Alissa holds an MA in humanities and social thought from New York University and an MFA in creative nonfiction writing from Seattle Pacific University, and is currently earning an MS in Computer Science from Georgia Tech.
Culture coverage may include stories about companies that invest in Vox Media. This does not in any way affect the editorial independence of our coverage, and this information will be disclosed clearly when relevant. See Vox’s ethics and guidelines for more.
Latest articles by Alissa Wilkinson
It’s a great time to be at the movies.
Jonathan Glazer’s new film dismantles simple cliches about the banality of evil.
Solitude and wisdom at the movies.
SAG-AFTRA and the AMPTP have reached a tentative agreement.
From Pain Hustlers to Dopesick to The Fall of the House of Usher, filmmakers are fascinated by the epidemic. But what are they saying?
What to know about the new collaboration between Nathan Fielder, Benny Safdie, and Emma Stone.
Entertainment isn’t frivolous. Walter Hickey’s new book You Are What You Watch explains why.
The final scenes of Martin Scorsese’s recent films are part of a larger project.
Martin Scorsese knows that who gets to tell the story matters as much as the story that gets told.
The two big sticking points between SAG-AFTRA and the AMPTP, explained.