For 1,217 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 Così ridevano
Lowest review score: 0 Chaos
Score distribution:
1,217 movie reviews
    • 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.
    • 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]
    • 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.
    • 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]
    • 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]
    • 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]
    • 73 Metascore
    • 75 Michael Wilmington
    A clever, amiably low-key mix of family drama and romantic comedy.[18 August 1995, Friday, p.C]
    • 67 Metascore
    • 75 Michael Wilmington
    It's fun, but not obvious fun.
    • 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]
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 75 Michael Wilmington
    It's beautifully shot on Cephallonian locations by superb landscape photographer John Toll.
    • 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]
    • 49 Metascore
    • 75 Michael Wilmington
    The acting is primo and the cinematography, on high-definition video by the gifted M. David Mullen, is striking.
    • 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]
    • 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.
    • 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.
    • 55 Metascore
    • 75 Michael Wilmington
    Sometimes thrilling, sometimes suffocatingly tasteful adaptation of Stephen King's 1999 novel.
    • 60 Metascore
    • 75 Michael Wilmington
    It's the kind of copycat movie that becomes original through its cast and treatment.
    • 68 Metascore
    • 75 Michael Wilmington
    It's an entertaining picture, classy and well executed, but as much as any film I've seen recently, this lush new version of the 1969 Michael Caine thriller tends to prove that, where thrillers are concerned, "more" is often less.
    • 57 Metascore
    • 75 Michael Wilmington
    Avoid it if you object to seeing people devoured by wolves, but see it if you want to howl at the moon.
    • 71 Metascore
    • 75 Michael Wilmington
    The movie, a keen look at the way passion unravels and obsession destroys, creates a black mood, a sense of truth and an enduring chill that stay with you.
    • 75 Metascore
    • 75 Michael Wilmington
    The movie -- simple, pure and powerful -- makes us feel the intensity of both life in transit and life lived, if only for a moment, in another's skin.
    • 65 Metascore
    • 75 Michael Wilmington
    Solaris, an exploration of outer space and inner anguish, reminds us that science fiction can embrace adult ideas and human drama as well as technology and futuristic action.
    • 67 Metascore
    • 75 Michael Wilmington
    A horror movie with a Hitchcockian veneer of the everyday, a story that taps into our fear not only of the paranormal but also of insanity and the secret evil that may lie beneath ordinary lives.
    • 90 Metascore
    • 75 Michael Wilmington
    Weird to the max, smart, sneaky as a Wall Street pickpocket and revved up with cruel wit and brazen imagination, Being John Malkovich is a dark movie comedy that you couldn't forget if you tried.
    • 60 Metascore
    • 75 Michael Wilmington
    Red Dragon is very much a product, and a superior one, of our times. So is Anthony Hopkins' top-notch fiend, the bad doctor.
    • 88 Metascore
    • 75 Michael Wilmington
    What I did like unreservedly was the acting. Enid, as enacted by the sometimes astonishing Birch, is one of the more convincing, no-nonsense teens in recent movies.
    • 70 Metascore
    • 75 Michael Wilmington
    Immersed here in both the fair, dreamy air and chilly, deeper waters, Rampling and Sagnier make Swimming Pool a fine sunlit noir, oozing sensuality and menace.
    • 47 Metascore
    • 75 Michael Wilmington
    Beside its major virtues, it contains a vice: that one flat lead performance. Who would have thought Kevin Spacey would ever go dull on us?
    • 60 Metascore
    • 75 Michael Wilmington
    It's a fast, funny picture, and the worst thing you can say about it is that it's no "Toy Story," no "Shrek." That may be true, but one thing Ice Age proves is that the new digitized cartoons are a form whose time has come.
    • 40 Metascore
    • 75 Michael Wilmington
    Though the film falls short of its aspirations, there's something magical about it. It's a poetic look at transience, betrayal, loss and doom.
    • 64 Metascore
    • 75 Michael Wilmington
    It's a film that is mystifying and haunting -- a cool, brotherly vision of the last day and the coming flood, of American dreams and the vanishing frontier.
    • 61 Metascore
    • 75 Michael Wilmington
    This movie is a model of technique, beautifully crafted, often brilliantly acted by Cage and the others, but it's a bit hollow at the center.
    • 64 Metascore
    • 75 Michael Wilmington
    Unlike almost every other sexy modern thriller (especially most recent studio blockbusters), this one gives you a lot to think about.