Michael Wilmington
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For 1,276 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 13.2 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Bowling for Columbine
Lowest review score: 0 Chaos
Score distribution:
1,276 movie reviews
    • 49 Metascore
    • 75 Michael Wilmington
    It's by far the best cast Burns has assembled -- so much so that, unlike his other films, he doesn't come near dominating it.
    • 68 Metascore
    • 75 Michael Wilmington
    This is Hollywood expertise and Hollywood civic idealism at high levels.
    • 80 Metascore
    • 75 Michael Wilmington
    Shows us a filmmaker, unafraid of her emotions, unafraid to mine her past, someone clear-eyed, non-egoistic, full of life and warmth.
    • 66 Metascore
    • 75 Michael Wilmington
    Like Workman's other films, it's a time capsule that sings.
    • 74 Metascore
    • 75 Michael Wilmington
    This is a quiet thriller and a middle-aged romance, and it's full of desperation and oozing anxiety.
    • Chicago Tribune
    • 73 Metascore
    • 75 Michael Wilmington
    As solid as the earth, rich as a good meal and sometimes funny as hell.
    • 46 Metascore
    • 75 Michael Wilmington
    Suggests a raunchier, cruder version of a Coen brothers comedy, but it's also a kind of honky-tonk "Rashomon."
    • Chicago Tribune
    • 53 Metascore
    • 75 Michael Wilmington
    This is only a movie. But a good one. May Roddy Doyle give us many more.
    • 69 Metascore
    • 75 Michael Wilmington
    At a time when new westerns are in short supply, Devil a sight for sore eyes.
    • 75 Metascore
    • 75 Michael Wilmington
    It's surprising how much of the old mood Leconte manages to recapture, how sumptuous he makes the black-and-white cinematography and timeless Parisian and Mediterranean settings look.
    • Chicago Tribune
    • 57 Metascore
    • 75 Michael Wilmington
    It's a corker of a story - a polished yarn full of desire, desperation and despair.
    • 62 Metascore
    • 75 Michael Wilmington
    On a direct line with the whimsical small-town comedies of the '40s and '50s.
    • 75 Metascore
    • 75 Michael Wilmington
    A delightful concert documentary that proves once more what a neglected masterpiece the Coen Brothers gave us last year in their Depression chain-gang odyssey, "O Brother, Where Art Thou?"
    • Chicago Tribune
    • 60 Metascore
    • 75 Michael Wilmington
    The picture is written and acted as a lark and a romp.
    • 50 Metascore
    • 75 Michael Wilmington
    A beautifully tooled action thriller about love and terrorism.
    • 59 Metascore
    • 75 Michael Wilmington
    Unabashedly designed to blow its audience away.
    • 65 Metascore
    • 75 Michael Wilmington
    Few recent movie romances have a more chilling and peculiar feel -- and a more sobering aftertaste -- than Neil Jordan's heart-rendingly cold adaptation of Affair.
    • Chicago Tribune
    • 71 Metascore
    • 75 Michael Wilmington
    His (Dafoe's) re-creation of Schreck is an Oscar-level performance, but more than that, it's an unforgettable one: great, scary, horrifically funny.
    • 64 Metascore
    • 75 Michael Wilmington
    One of my favorite U.S. fiction features at 1999's Sundance Festival.
    • 64 Metascore
    • 75 Michael Wilmington
    You'll find heartbreakingly star-crossed lovers, a heartless villain (Wilson) and a dazzling backdrop of aristocratic life before and after the Russian Revolution.
    • 67 Metascore
    • 75 Michael Wilmington
    Even though the actors are good, their characters stay stock.
    • Chicago Tribune
    • 76 Metascore
    • 75 Michael Wilmington
    May strike some audiences as even more real than Kiarostami's work, because the story is so luminously open. Watching it, we enter, without barriers, a world.
    • 59 Metascore
    • 75 Michael Wilmington
    The movie is funny, but it's also touching and poetic -- and Bertin's scenes are devastating.
    • 58 Metascore
    • 75 Michael Wilmington
    Shines whenever we see the performances of Phoenix and Caan.
    • 62 Metascore
    • 75 Michael Wilmington
    A fairy tale comedy with the Holocaust as the background, a collision of terror and community, death and beauty.
    • 70 Metascore
    • 75 Michael Wilmington
    It's a winner with flaws.
    • 60 Metascore
    • 75 Michael Wilmington
    A gloriously giddy movie about theater, love and artifice, an unabashed art film.
    • 63 Metascore
    • 75 Michael Wilmington
    Life can be funny, sad, conventional, unpredictable -- or a pain in the tail. And so can Life, the new Eddie Murphy movie. [16 April 1999, Tempo, p.4]
    • Chicago Tribune
    • 70 Metascore
    • 75 Michael Wilmington
    A nostalgia movie that doesn't get sticky with false sentiment.
    • 54 Metascore
    • 75 Michael Wilmington
    Haunts the conscience, troubles the spirit.
    • Chicago Tribune
    • 48 Metascore
    • 75 Michael Wilmington
    Howard has a wonderful touch with actors, and almost all of them here have their moments. [26 March 1999, Friday, p.A]
    • Chicago Tribune
    • 77 Metascore
    • 75 Michael Wilmington
    A hip, funny, knowing romantic sports comedy that gets a little strained when it tries to expose its heart. [13 December 1996, Friday, p.A]
    • Chicago Tribune
    • 71 Metascore
    • 75 Michael Wilmington
    Doesn't really add up to much -- except a good time. But it's smart, funny and cute. With all that going for you, who needs to be money? [25 October 1996, Friday, p.H]
    • Chicago Tribune
    • 73 Metascore
    • 75 Michael Wilmington
    A clever, amiably low-key mix of family drama and romantic comedy.[18 August 1995, Friday, p.C]
    • Chicago Tribune
    • 67 Metascore
    • 75 Michael Wilmington
    It's fun, but not obvious fun.
    • Chicago Tribune
    • 65 Metascore
    • 75 Michael Wilmington
    The movie is a journey into a land of wonders beneath the surface of consciousness -- but it's also a sexual ride of unabated heat. You may be confused by Sex and Lucia, but you won't be unmoved.
    • 78 Metascore
    • 75 Michael Wilmington
    Never feels inflated -- and it builds to an ending of unusual power.
    • 42 Metascore
    • 75 Michael Wilmington
    It looks like a TV ad, or 200 of them strung together, with the same kind of gaudy virtuosity, lavish technique and expensive self-mockery tinging every shot.
    • 60 Metascore
    • 75 Michael Wilmington
    Swedish cinema has been famous for a number of things: beautiful actresses, fine sexy psychological dramas, natural settings, cinematic bawdiness and a touch of melancholy. Under the Sun fits that profile well.
    • 79 Metascore
    • 75 Michael Wilmington
    As a ride, this Tarzan succeeds. As a pop myth, it needs more jungle fever. [18 June 1999, Friday, p.A]
    • Chicago Tribune
    • 84 Metascore
    • 75 Michael Wilmington
    Magnificently sensuous and macabre.
    • 51 Metascore
    • 75 Michael Wilmington
    Beautifully produced: a moving film with a fascinating story and exemplary acting.
    • 82 Metascore
    • 75 Michael Wilmington
    Zeta-Jones can belt out her numbers, Zellweger can purr hers, and Gere-a musician who played his own cornet solos in "The Cotton Club"-can sell his songs and even dance a spiffy little tap dance. They're better than you'd expect-and so is the movie.
    • 60 Metascore
    • 75 Michael Wilmington
    A simple, eloquent drama.
    • 64 Metascore
    • 75 Michael Wilmington
    A slick, bloody thriller, but it's also, to its credit, a genuine whodunit.
    • 53 Metascore
    • 75 Michael Wilmington
    It's a good small film for intelligent audiences who like to watch the movie camera explore other regions and other communities -- something all our movies should do more often.
    • 57 Metascore
    • 75 Michael Wilmington
    The film, like its lovers, is fond, giddy and poetic about love and death.
    • 78 Metascore
    • 75 Michael Wilmington
    The film does succeed in making the story universal, giving us the drama as well as the history, the fire as well as cool examination. It's a movie that haunts you afterward.
    • Chicago Tribune
    • 69 Metascore
    • 75 Michael Wilmington
    A movie about love, friendship and finding oneself, and it takes all its subjects very seriously while seeming to treat them with the lightest and most piquant of touches. Like its bizarre heroine, it irrigates our souls.
    • 69 Metascore
    • 75 Michael Wilmington
    A thrilling ride but also a thoughtful one, it's a movie that does manage to do more good than bad by the end of the day.
    • 76 Metascore
    • 75 Michael Wilmington
    Few sports films catch their time, place and sport so well. For skateboard fans, this is a must. But it's also a great ride if you know nothing about the sport or what it meant. At the end of this movie, you will.
    • 51 Metascore
    • 75 Michael Wilmington
    The movie is an odd mix of tones and styles, and the thriller plot is casually introduced, shoved aside and reintroduced. But, like all Duvall's work, Assassination Tango breathes with humanity.
    • 49 Metascore
    • 75 Michael Wilmington
    At its best, this new film does mix grandeur with skepticism, excitement with reflection. In the end, like Harry, it redeems itself.
    • 78 Metascore
    • 75 Michael Wilmington
    In the end, grips us precisely because its actors are so utterly absorbed in their roles, so unfettered and nakedly expressive. This is the kind of acting we always look for, but rarely see.
    • 75 Metascore
    • 75 Michael Wilmington
    Here is a film of staggering technical and visual virtuosity, filled with utterly amazing images, that's also entertaining and engaging for children and adults on several levels.
    • 61 Metascore
    • 75 Michael Wilmington
    On many levels, it hits its marks -- but it still misses the impact of some shorter, less-ambitious movies that play with our emotions more deftly or deeply, walk their miles, deadly or not, with a lighter, faster, more confident tread.
    • Chicago Tribune
    • 33 Metascore
    • 75 Michael Wilmington
    It's one of those movies that are unfortunately so technically well done, it's hard to tune out on the senseless story.
    • Chicago Tribune
    • 36 Metascore
    • 75 Michael Wilmington
    It's beautifully shot on Cephallonian locations by superb landscape photographer John Toll.
    • Chicago Tribune
    • 55 Metascore
    • 75 Michael Wilmington
    If the real-life story is genuinely inspirational, the movie stirs us as well.
    • 45 Metascore
    • 75 Michael Wilmington
    This movie lets you feel something. Like George's house, if not his life, it's built well and full of heart.
    • 51 Metascore
    • 75 Michael Wilmington
    A classy supernatural lady-in-distress thriller.
    • 59 Metascore
    • 75 Michael Wilmington
    Signs -- though Shyamalan's most visually beautiful work -- seems thinner, barely more than a sketch for a movie, with characters trapped in formulas. Beautifully trapped perhaps -- but paralyzed nonetheless.
    • 56 Metascore
    • 75 Michael Wilmington
    Max
    A flawed film but an admirable one that tries to immerse us in a world of artistic abandon and political madness and very nearly succeeds.
    • 82 Metascore
    • 75 Michael Wilmington
    A genre movie with an agenda that's too packed. Inevitably, some of the many balls it's juggling get dropped -- (but it's) one of the most entertaining and original actioners in several years.
    • 78 Metascore
    • 75 Michael Wilmington
    What gives the movie real flesh and fantasy is the actress playing this part, the incandescent Morton.
    • 79 Metascore
    • 75 Michael Wilmington
    The movie, in the end, is devastating because of the banality it reveals, and because its terseness and plainness cut a mass killer down to size.
    • 71 Metascore
    • 75 Michael Wilmington
    Tape may not be a great movie, but it's a great demonstration of creativity within severe limitations.
    • 71 Metascore
    • 75 Michael Wilmington
    There's a shallowness about The Good Girl that can't always be excused as an accurate portrayal of a shallow milieu -- in the end, just like Justine, it's not as good as it could have been.
    • 71 Metascore
    • 75 Michael Wilmington
    It's a warmly realistic comedy-drama that pulls you right into its lively, well-drawn L.A. milieu.
    • 66 Metascore
    • 75 Michael Wilmington
    Entertaining, surprisingly well-written and often rowdily amusing picture. It is predictable in many ways but also full of heart, humor and personality.
    • 70 Metascore
    • 75 Michael Wilmington
    This is a movie that rocks and socks you, and has a performance by Washington that's ruthless and scary. But in the end, it leaves you unmarked.
    • 73 Metascore
    • 75 Michael Wilmington
    These two actors have a kind of genius for dark comedy: Stiller for suffering through crises and De Niro for creating them.
    • 63 Metascore
    • 75 Michael Wilmington
    Director Lee has a true cinematic knack, but it's also nice to see a movie with its heart so thoroughly, unabashedly on its sleeve.
    • 59 Metascore
    • 75 Michael Wilmington
    Witherspoon goes further, pouring so much humor and pizzazz into Elle that she lifts up the whole movie.
    • 82 Metascore
    • 75 Michael Wilmington
    Sweeps us back into a terrifying and desperate string of events and makes us feel them - and, more crucially, understand them as well.
    • 66 Metascore
    • 75 Michael Wilmington
    A children's movie done with genuinely youthful spirit and an easy self-kidding mastery of its own high-tech gadgetry.
    • 76 Metascore
    • 75 Michael Wilmington
    Brilliant performances by DiCaprio as Frank Jr. and Christopher Walken as his fallen father - and an enjoyable one by Tom Hanks.
    • 74 Metascore
    • 75 Michael Wilmington
    Good, expensive, easygoing fun. It's no masterpiece, but why should Soderbergh -- or anybody -- get three in a row?
    • 66 Metascore
    • 75 Michael Wilmington
    Proyas' movie lacks a truly rich or compelling story -- although the city secret is certainly a rich and compelling idea. All too often, Dark City seems a great production design in search of a movie, an ultimate modern film noir pastiche, in which the images are so strong they overpower the drama. [27 Feb 1998]
    • Chicago Tribune
    • 49 Metascore
    • 75 Michael Wilmington
    The acting is primo and the cinematography, on high-definition video by the gifted M. David Mullen, is striking.
    • Chicago Tribune
    • 55 Metascore
    • 75 Michael Wilmington
    A movie that will act like a smack in the face to some audiences, while others may simply laugh in recognition.
    • 86 Metascore
    • 75 Michael Wilmington
    It stays in your memory, will not leave you in peace.
    • 58 Metascore
    • 75 Michael Wilmington
    Bigelow gives this film edge, tension and something you aren't expecting: a woman's touch for teasing out the buried emotion beneath those stoic surfaces.
    • 66 Metascore
    • 75 Michael Wilmington
    Skates over depravity when, like Crane, it should have dug down deeper.
    • 61 Metascore
    • 75 Michael Wilmington
    Most of the original play's magical speeches are preserved here, and however far this film may seem to stray from the original text, the delights remain. [14 May 1999, Friday, p.A]
    • Chicago Tribune
    • 49 Metascore
    • 75 Michael Wilmington
    It's good, hard-edged stuff, violent and a bit exploitative but also nicely done, morally alert and street-smart.
    • 77 Metascore
    • 75 Michael Wilmington
    Flaws and all, it really does show a star being born.
    • 76 Metascore
    • 75 Michael Wilmington
    Minghella's psychological redraft muffles the menace, squanders the tension, throws away the main character and plot engine and turns Ripley into something he never was or should be.
    • 54 Metascore
    • 75 Michael Wilmington
    Exactly the sort of personalized, non-assembly line treat some audiences are always trying, in vain, to find.
    • 68 Metascore
    • 75 Michael Wilmington
    This movie lets the characters and tropes borrowed from the original Stan Lee comic live and breathe.
    • 46 Metascore
    • 75 Michael Wilmington
    Not perfect, and neither are life or the movies. But you'd have to be blind yourself not to relish its qualities or laugh at its barbs.
    • 64 Metascore
    • 75 Michael Wilmington
    One Hour Photo is a piece of often masterly image-making, a half-brilliant film with a revelatory lead performance by Williams. But it's also a thriller that gets trapped in surfaces: shiny, exciting, full of dread but often only tricks of the camera.
    • 47 Metascore
    • 75 Michael Wilmington
    At its best, "Hollywood" has the breezy irreverence and easy, sunny L.A. atmosphere of Shelton's 1992 "White Men Can't Jump," a buddy-buddy basketball-hustle movie.
    • 62 Metascore
    • 75 Michael Wilmington
    This toweringly ambitious picture confronts a brilliant director, Atom Egoyan, with a major historical event and a profound theme.
    • 73 Metascore
    • 75 Michael Wilmington
    A highly provocative documentary.
    • 68 Metascore
    • 75 Michael Wilmington
    Often, Requiem for a Dream is as technically inventive and daring as the Scottish heroin film "Trainspotting," but it has more resonance and feeling. And when Burstyn is on screen, it often becomes heartbreaking.
    • 63 Metascore
    • 75 Michael Wilmington
    Smith's story is a charmer: touching, funny, romantic, perceptive, absorbing and full of color and character. And the movie, which has been respectfully and affectionately handled by people who obviously love their source, captures most of those qualities.
    • 40 Metascore
    • 75 Michael Wilmington
    Engrossing as it is, The Hunted is more a showcase for formidable talent than anything else. It's a brainy, exciting but shallow show -- an expert's action movie that almost runs out of breath.
    • 37 Metascore
    • 75 Michael Wilmington
    I laughed all the way through it.
    • Chicago Tribune
    • 57 Metascore
    • 75 Michael Wilmington
    Hannibal, riding the malicious wit of Hopkins' sophisticated fiend, is a gorgeous, wild, sometimes sick thriller, a feast for enraptured eyes and strong stomachs.
    • Chicago Tribune

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