For 1,221 reviews, this critic has graded:
  • 77% higher than the average critic
  • 2% same as the average critic
  • 21% lower than the average critic
On average, this critic grades 14.1 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
Average review score: 73
Highest review score: 100 In Praise of Love
Lowest review score: 0 Chaos
Score distribution:
1,221 movie reviews
    • 73 Metascore
    • 100 Michael Wilmington
    It's so thoroughly engaging, so beautifully made, strikingly shot and chock-full of humor and humanity, I can't imagine any intelligent audience not falling in love with it - if only they take the leap of faith to see it.
    • 64 Metascore
    • 100 Michael Wilmington
    It's a joy. Altman does Dallas the way he did "Nashville" in Nashville or Hollywood in "The Player."
    • 69 Metascore
    • 100 Michael Wilmington
    Vibrating with humanity, it's a potent portrait of love, ranging from the purely carnal to the impurely sublime.
    • 73 Metascore
    • 100 Michael Wilmington
    Takes the raw truth and makes it jubilantly, terrifically entertaining.
    • 88 Metascore
    • 100 Michael Wilmington
    The greatest rock concert movie ever made -- and maybe the best rock movie, period.
    • 90 Metascore
    • 100 Michael Wilmington
    Some movies delight you. Some stimulate and provoke. Some enlighten and inform. And some simply hand you a rousing good time-- does all of that and more.
    • 72 Metascore
    • 100 Michael Wilmington
    A rare example of a literary film that preserves the best of its source while creatively filling up on it.
    • 74 Metascore
    • 100 Michael Wilmington
    Both the movie and Denzel Washington are knockouts.
    • 83 Metascore
    • 100 Michael Wilmington
    Of all the movies I've seen in the past several years, this is one of the ones I love the most.
    • 70 Metascore
    • 100 Michael Wilmington
    Kaufman's startling Quills gives us an anatomy of fear, images both silken swift and molten hot, scenes that disrupt and inflame the imagination.
    • 79 Metascore
    • 100 Michael Wilmington
    82-year-old Ingmar Bergman takes one of the most painful, shameful episodes of his own life and, writing for director Liv Ullmann, transmutes it into magical, brilliant artistry.
    • 61 Metascore
    • 100 Michael Wilmington
    Bravo!
    • 92 Metascore
    • 100 Michael Wilmington
    Great, bittersweet family drama.
    • 79 Metascore
    • 100 Michael Wilmington
    A spectacular, engrossing, big-hearted film based on one of Korea's great national epics and made by that country's top filmmaker.
    • 90 Metascore
    • 100 Michael Wilmington
    A movie bull's-eye: noir with an attitude, a thriller packing punches. It gives up its evil secrets with a smile.
    • 54 Metascore
    • 100 Michael Wilmington
    Such a sour, mindlessly inflated experience that seeing it may temporarily put you off historical movies.
    • 68 Metascore
    • 100 Michael Wilmington
    This is a film precisely constructed, brilliantly imagined.
    • 73 Metascore
    • 100 Michael Wilmington
    Moretti gives us something different but very important. He shows us how life goes on.
    • 86 Metascore
    • 100 Michael Wilmington
    A film poem of sometimes humbling beauty: a movie that opens up a new world to us - in the mountains of Iranian Kurdistan - with an enchanting freshness and austerity of vision.
    • 73 Metascore
    • 100 Michael Wilmington
    A beautiful and genuinely spirit-lifting film about poverty and education.
    • 81 Metascore
    • 100 Michael Wilmington
    A film which should gratify any audience starved for intelligent dialogue, realistic portrayals of romance and lovely, non-cliched open-air photography.
    • 66 Metascore
    • 100 Michael Wilmington
    As we watch, we can sense, once again, the eye of a painter, the dreams of a poet and, tying them together, the vision of a master.
    • 90 Metascore
    • 100 Michael Wilmington
    An amazing celluloid poem by a filmmaker whom Ingmar Bergman called "the greatest." He very nearly was. He was also, perhaps, too pure a creator and reckless a citizen to survive unscathed.
    • 70 Metascore
    • 100 Michael Wilmington
    Blazes up constantly with a stunning, off-kilter brilliance, an incandescent force that sometimes explodes the space between us and the screen.
    • 70 Metascore
    • 100 Michael Wilmington
    An absolute delight, one of the most sheerly pleasurable movies Altman has ever made. It's wry, jokey and sexy, a tart and delectable entertainment. And, like most of Altman's best work, it's graced with a top-notch ensemble of first-class [9 April 1999, Friday, p.A]
    • 100 Metascore
    • 100 Michael Wilmington
    It's perhaps only because it can't be seen in its full glory on television that "Lawrence" isn't ranked more highly on some recent all-time "best film" lists. But it belongs near the very top. It's an astonishing, unrepeatable epic.
    • 98 Metascore
    • 100 Michael Wilmington
    A timeless romantic thriller that steeps us in one of those great artificial movie worlds that become more overpowering than reality itself.
    • 69 Metascore
    • 100 Michael Wilmington
    A wildly original movie with astonishingly varied moods and influences.
    • 78 Metascore
    • 100 Michael Wilmington
    A movie I loved on first sight and, even more important, love in remembrance. Taken all in all, there's only one last thing to say about it. Go.
    • 73 Metascore
    • 100 Michael Wilmington
    You can't praise highly enough the contributions of the ensemble--De Niro and Pesci especially--but it's Scorsese's triumph. [22 November 1995, Tempo, p.1]
    • 76 Metascore
    • 100 Michael Wilmington
    A movie about the passions of simple people, and it's done with such extraordinary empathy and commitment that it all but pulls you under. [29 November 1996, Friday, p.A]
    • 91 Metascore
    • 100 Michael Wilmington
    A landmark movie that becomes a priceless entryway into a distant land and its people, few of whom will ever seem as foreign and far away again.
    • 90 Metascore
    • 100 Michael Wilmington
    Masterpiece is the right word for The Sweet Hereafter. It is extraordinary: a poem of familial pain, a song of broken embraces. [25 December 1997, Tempo, p.1]
    • 83 Metascore
    • 100 Michael Wilmington
    A stunner: a fiercely brilliant film of such wrenching impact, nonstop drive and unpredictability that watching it becomes an exhilarating ride.
    • 79 Metascore
    • 100 Michael Wilmington
    Some movies can lay claim to being the best thing around in a week, a month, a year. Robert Altman's Short Cuts is closer to being one of the all-time bests, among the finest American films since the advent of sound. [22 Oct 1993]
    • 83 Metascore
    • 100 Michael Wilmington
    A fierce, brilliant film that breaks (and then mends) your heart.
    • 66 Metascore
    • 100 Michael Wilmington
    Be forewarned: Dog Days, like many of Seidel's films, will drive some moviegoers to rage and walkouts with its unrelentingly depressing tone. But it also a remarkable, deeply disturbing work by a brilliant filmmaker.
    • 72 Metascore
    • 100 Michael Wilmington
    Moore's best movie, and one of the most blisteringly effective polemics and documentaries ever.
    • 89 Metascore
    • 100 Michael Wilmington
    In Jan Campion's The Piano, the emotions are deep, fierce, primordial. Sexuality overwhelms the film's characters like ocean waves blasting against a cliffside. [19 Nov 1993]
    • 93 Metascore
    • 100 Michael Wilmington
    It still soars, but now it seems richer, more expansive. Amadeus reminds us that movies can be lyrical as well as vulgar, ambitious as well as playful, brilliant as well as down and dirty -- just like Amadeus himself.
    • 86 Metascore
    • 100 Michael Wilmington
    One of the most beautiful of all recent films on the problems of old age -- and on the interplay of theater and life.
    • 86 Metascore
    • 100 Michael Wilmington
    Extraordinary film, one that, like the museum itself, captures and shows three centuries of Russian culture and history in all its beauty, confusion, terror and majesty.
    • 88 Metascore
    • 100 Michael Wilmington
    Moviegoers should be almost as entranced by the teeming, glorious landscapes and dark, bloody battlegrounds of Two Towers: astonishing midpoint of an epic movie fantasy journey for the ages.
    • 82 Metascore
    • 100 Michael Wilmington
    Re-released now in a digitally enhanced, sonically improved and slightly longer version, the movie is even better than it was in 1973.
    • 96 Metascore
    • 100 Michael Wilmington
    One of the most excitingly contemporary musicals ever made.
    • 83 Metascore
    • 100 Michael Wilmington
    A great, velvety, beautiful anachronism. It's a movie almost drunk on romance, literature and cinema, a splendid period picture that keeps rashly breaking rules and boundaries [17 Sept 1993, Friday, p.A]
    • 82 Metascore
    • 100 Michael Wilmington
    This is one of those films that encapsulate most of its maker's key thoughts and feelings while also connecting us vividly to a fascinating past. No one who loves French film (or movies in general) should miss it.
    • 84 Metascore
    • 100 Michael Wilmington
    In the remarkable, ferociously intelligent new film No Man's Land, Bosnian writer-director Danis Tanovic gives us a movie portrait of the Bosnian War, a conflict that has devastated his country, friends and neighbors -- and found in it both shocking humor and searing, relentless tragedy.
    • 82 Metascore
    • 100 Michael Wilmington
    It is a movie about the gradual erosion of life's seeming certainties, and it's also about the destructive immorality that may lie beneath the most exquisitely composed veneer. As we watch "Chocolat," this great director and his great actress, Huppert, convince us: Evil is.
    • 91 Metascore
    • 100 Michael Wilmington
    Leigh is an artist not at all blind to the world's darkness and pain. But the generosity and togetherness he and his company show in Secrets and Lies is something the movies -- and the world -- truly need. [25 October 1996, Friday, p.A]
    • 71 Metascore
    • 100 Michael Wilmington
    Moves us now because it's so playful and the players are so young - and because later, when Godard tried to play for keeps, in his self-consciously radical films of the late '60s and '70s, he began to lose his game.
    • 69 Metascore
    • 100 Michael Wilmington
    This is the Paris -- and the mad, beautiful young Parisienne -- we look for in dreams.
    • 85 Metascore
    • 100 Michael Wilmington
    A great movie on a powerful, essential subject -- the Holocaust years in Poland -- directed with such artistry and skill that, as we watch, the barriers of the screen seem to melt away.
    • 90 Metascore
    • 100 Michael Wilmington
    Magnificent to look at, thrilling, ingenious, spellbinding and superbly done on every level, this is not just one of the best films of the year or the decade, but of all time.
    • 82 Metascore
    • 100 Michael Wilmington
    The film is truly special, truly different -- a wondrous talky roundelay about and for people who love life.
    • 94 Metascore
    • 100 Michael Wilmington
    Always a magical film. For its anniversary rerelease, though, it's been extensively restored and even partly reshot by Spielberg. It now looks better than it did back then.
    • 73 Metascore
    • 100 Michael Wilmington
    Like all the Coens' movies, "Man" is supremely self-aware and darkly, hellishly funny. It's also brilliantly written and acted to a fare-thee-well by an outrageously good cast.
    • 78 Metascore
    • 100 Michael Wilmington
    One of the most curious and perversely brilliant films ever made in the American studio system. It's a shining example of qualities we don't normally see in our big theatrical pictures: vast ambition, huge resources and technical genius mated to a unique and compelling vision of life.
    • 90 Metascore
    • 100 Michael Wilmington
    I loved this movie madly, and so will many of you.
    • 88 Metascore
    • 100 Michael Wilmington
    Blends a love of semi-trashy pop entertainment with a love of poetry, art and high moral seriousness. It's a young person's movie (Godard was 34 and Karina 24 in 1964) that retains its mysterious pull even as the film and we get older.
    • 73 Metascore
    • 100 Michael Wilmington
    Astonishing, crazily delightful.
    • 75 Metascore
    • 100 Michael Wilmington
    Few Hollywood action pictures are half as exciting or ravishing.
    • 97 Metascore
    • 100 Michael Wilmington
    No matter how many heists you've seen, how many gangs you've watched fall apart or how many aging crooks you've seen walk up a mean street to a violent destiny, Rififi never loses its ruthless grace and force.
    • 78 Metascore
    • 100 Michael Wilmington
    Another masterpiece from one of the world's more neglected great directors, a master artist who here reveals the soul of another.
    • 85 Metascore
    • 100 Michael Wilmington
    A hard-core movie with a soft, light-hearted center and an edge like a knife.
    • 71 Metascore
    • 100 Michael Wilmington
    A great love story and a deeply moving celebration of simple lives.
    • 87 Metascore
    • 100 Michael Wilmington
    Some scholars may scowl, some lowbrows may scoff. But, like wordwise Will, these filmmakers know how to win a crowd -- from the queen down to the groundlings, from the sky above to the stage below. Bravo! [5 December 1998, Friday, p.A]
    • 86 Metascore
    • 100 Michael Wilmington
    Loach is a super-realist, and Sweet Sixteen has the disarming feel of a documentary. It's a film that miraculously catches life on the fly, without apparent embellishment, cliche or melodrama.
    • 91 Metascore
    • 100 Michael Wilmington
    You may not like Beau Travail - which is, after all, a quintessential "critic's film" - but I think you'll have to admit it's been almost perfectly executed.
    • 86 Metascore
    • 100 Michael Wilmington
    A great, haunting film; it affects us in ways we're not used to...it is capable of both lifting our hearts and chilling us to the bone.
    • 85 Metascore
    • 100 Michael Wilmington
    This is a superb film and one of Nicholson's great performances, tamped down but magnetic.
    • 69 Metascore
    • 100 Michael Wilmington
    It put a smile on my face that never left for 117 minutes.
    • 98 Metascore
    • 100 Michael Wilmington
    Trashy and glorious, the restored Metropolis is a pop epic for the ages.
    • 74 Metascore
    • 100 Michael Wilmington
    A film that sweeps us away into a world of spectacle, beauty and excitement, a realm of fantasy unimaginable without the movies.
    • 68 Metascore
    • 100 Michael Wilmington
    A spellbinder: provocatively conceived, gorgeously shot and masterfully executed.
    • 90 Metascore
    • 100 Michael Wilmington
    It's a scintillating comedy-drama and one of Altman's most richly moving and entertaining pictures.
    • 91 Metascore
    • 100 Michael Wilmington
    Watching Le Cercle Rouge, we're caught up in a world that, however improbable some of its twists and turns seem, strikes us as a perfect, imaginative creation.
    • 83 Metascore
    • 100 Michael Wilmington
    Heroin may be a downer, but Trainspotting definitely takes you up…a series of roaring, provocative, outrageous highs. [26 July 1996, Friday, p.C]
    • 81 Metascore
    • 100 Michael Wilmington
    Like "Memento," Mulholland Drive is an amnesiac noir in the tradition that goes back to "Spellbound" and "Somewhere in the Night."
    • 67 Metascore
    • 100 Michael Wilmington
    This is a terrific movie: jolting, savage, horrifically funny, nightmarishly exciting but also brainy and compassionate.
    • 90 Metascore
    • 100 Michael Wilmington
    Delicately subversive, hypnotically sardonic, full of terror, banality and wafer-thin lyricism.
    • 100 Metascore
    • 100 Michael Wilmington
    Brando made Don Vito something we rarely see in movies: a tragicomic villain-hero, a vulnerable hood. The don is so close to a comic character -- the movie itself is so close to comedy -- that Brando's capacity to move us in the role is doubly impressive. At the end, it is the older Godfather's tenderness and sagacity we recall. [21 Mar 1997, Friday, p.A]
    • 78 Metascore
    • 100 Michael Wilmington
    Told with such sadness and exaltation, such mastery of image and sound, that watching it makes you feel renewed and hopeful.
    • 87 Metascore
    • 100 Michael Wilmington
    All but sweeps you away with its dazzling technique and shattering emotion. [27 November 1996, Tempo, p.1]
    • 53 Metascore
    • 100 Michael Wilmington
    Attack of the Clones celebrates a certain youthful spirit in both moviemaking and movie watching; because it's as much phenomenon as movie, audiences will either ride with or reject it. I was happy to take the ride.
    • 59 Metascore
    • 100 Michael Wilmington
    A deeply moving blend of cold terror and rapturous hilarity. Lovingly crafted by Italy's top comedian and most popular filmmaker, it's that rare comedy that takes on a daring and ambitious subject and proves worthy of it.
    • 65 Metascore
    • 100 Michael Wilmington
    Pure magic, a three-act movie fantasy that transports us -- as the best films do -- to a world of its own, a place of ambiguous joy and delirious terror.
    • 80 Metascore
    • 100 Michael Wilmington
    May show both director and star working at their professional peaks, but I don't think it's as good as that underappreciated masterwork "A.I." It's not as resonant and daring, not as full of magic and marvel. Spielberg stretches himself technically here but not emotionally.
    • 86 Metascore
    • 100 Michael Wilmington
    It's a thriller that really thrills, a drama that really engages, a portrait of a world and system out of joint that is painfully convincing and totally engrossing from the first simmering minute to the last explosive second.
    • 86 Metascore
    • 100 Michael Wilmington
    Great filmmakers push their ideas and characters to the limit, unafraid of consequences - which is what Pedro Almodovar has done in Talk To Her, his latest film and, I think, his best.
    • 62 Metascore
    • 100 Michael Wilmington
    Like most Godard, it can be watched repeatedly, always yielding new secrets and beauties. Most profound of all, perhaps, are those incredible black-and-white images of Paris.
    • 84 Metascore
    • 100 Michael Wilmington
    An instant classic and a dramatic beauty, a film that gets us to the core of Greene's chilly, dark and romantic view of the post-war world.
    • 92 Metascore
    • 100 Michael Wilmington
    A film that lets life flood into our souls.
    • 64 Metascore
    • 100 Michael Wilmington
    It's tantalizing, delectable and randy, a movie of melting eroticism and toothsome humor.
    • 77 Metascore
    • 100 Michael Wilmington
    The kind of brilliantly weirdo picture that, by all rights, shouldn't have gotten made at all but this time, miraculously, was.
    • 94 Metascore
    • 100 Michael Wilmington
    Pulp Fiction isn't just funny. It's outrageously funny. [14 Oct 1994]
    • 72 Metascore
    • 100 Michael Wilmington
    Viveka Seldahl and Sven Wollter will touch you to the core in a film you will never forget -- that you should never forget.
    • 92 Metascore
    • 100 Michael Wilmington
    An extraordinary work, grandly conceived, brilliantly executed and wildly entertaining. It's a hobbit's dream, a wizard's delight. And, of course, it's only the beginning.
    • 84 Metascore
    • 100 Michael Wilmington
    A powerful film made with minimal means, it's a story of poor people on the fringes of society, done without sentimentality or condescension but with wicked humor.
    • 90 Metascore
    • 100 Michael Wilmington
    A watershed picture, for both Spielberg and war movies.