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 The Sweet Hereafter
Lowest review score: 0 Chaos
Score distribution:
1,276 movie reviews
    • 75 Metascore
    • 75 Michael Wilmington
    This smart, hardscrabble, very likable film has a heart and spirit all its own: a rollicking, earthy flair and lusty intelligence.
    • 61 Metascore
    • 75 Michael Wilmington
    Maybe the problem with Analyze This is that it isn't enough of a Ramis movie. [5 Mar 1999]
    • Chicago Tribune
    • 77 Metascore
    • 75 Michael Wilmington
    The first hit movie western of the new century - wins us with a wink. It leaves you in a bright, happily cross-cultural mood. Adios, amigos. And vaya con Jackie Chan.
    • 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.
    • 67 Metascore
    • 75 Michael Wilmington
    Even though the actors are good, their characters stay stock.
    • Chicago Tribune
    • 56 Metascore
    • 75 Michael Wilmington
    The film mixes unashamed kitsch, thrilling airfight scenes and dark historical drama. But what gives it a special charge is its portrait of the Czech RAF group: what happened to them before, during and after the war.
    • 56 Metascore
    • 75 Michael Wilmington
    Inspirational biographical movie that really works.
    • 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.
    • 79 Metascore
    • 75 Michael Wilmington
    Brimming over with affection and humanity, this memory drama about the destruction of one family and the birth of another is nostalgic in a good sense: funny, bittersweet, poignant.
    • 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.
    • 33 Metascore
    • 75 Michael Wilmington
    (Matthau's) is a truly magical performance: hilarious, unguarded and deeply touching.
    • Chicago Tribune
    • 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
    It's a warmly realistic comedy-drama that pulls you right into its lively, well-drawn L.A. milieu.
    • 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.
    • 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.
    • 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
    • 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.
    • 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
    At once proudly conservative, passionately idealistic and beautifully assured.
    • 57 Metascore
    • 75 Michael Wilmington
    A breezy, elegant charmer of a movie.
    • Chicago Tribune
    • 62 Metascore
    • 75 Michael Wilmington
    For all its craft and achievement, The Gift -- which has a script that may have needed more rewriting and deepening -- is a good, minor effort; it has some real conviction, even anguish. And it has Blanchett, whose gift as an actress is sometimes transcendent.
    • Chicago Tribune
    • 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
    • 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.
    • 57 Metascore
    • 75 Michael Wilmington
    It's a corker of a story - a polished yarn full of desire, desperation and despair.
    • 80 Metascore
    • 75 Michael Wilmington
    One of the most intriguing prison dramas ever put on film.
    • Chicago Tribune
    • 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
    • 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
    • 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.
    • 64 Metascore
    • 75 Michael Wilmington
    The film manages to crack all its codes, and even when it sags a bit, it's never lacking grace and some wit. Not enigmatically at all, it pleases and teases us -- in high style.
    • 62 Metascore
    • 75 Michael Wilmington
    A fairy tale comedy with the Holocaust as the background, a collision of terror and community, death and beauty.
    • 82 Metascore
    • 75 Michael Wilmington
    One of the sharper, funnier, better-cast, better-written movies around right now. But there's something about it that, well, comes up short. [20 October 1995, Friday, p.C]
    • Chicago Tribune
    • 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
    • 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.
    • 49 Metascore
    • 75 Michael Wilmington
    The images are lustrous, the cutting is brisk and the acting of the two leads is right on the money.
    • 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.
    • 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.
    • 70 Metascore
    • 75 Michael Wilmington
    A nostalgia movie that doesn't get sticky with false sentiment.
    • 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.
    • 52 Metascore
    • 75 Michael Wilmington
    It's ludicrous, but it's fun. Besson is a filmmaker so in love with his own daffy excesses that he's able to pull us, laughing, right into his world of loony pop. [9 May 1997]
    • Chicago Tribune
    • 34 Metascore
    • 75 Michael Wilmington
    One of the most gorgeous science-fiction movies ever - and probably also one of the most realistic in detail and scientific extrapolation
    • 55 Metascore
    • 75 Michael Wilmington
    Sometimes thrilling, sometimes suffocatingly tasteful adaptation of Stephen King's 1999 novel.
    • Chicago Tribune
    • 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.
    • 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
    • 54 Metascore
    • 75 Michael Wilmington
    Haunts the conscience, troubles the spirit.
    • Chicago Tribune
    • 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.
    • 67 Metascore
    • 75 Michael Wilmington
    It's fun, but not obvious fun.
    • 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
    • 58 Metascore
    • 75 Michael Wilmington
    The sort of movie that both rewards and tries your patience.
    • Chicago Tribune
    • 70 Metascore
    • 75 Michael Wilmington
    Exquisitely designed, lovingly executed, beautifully scored and played, every hair and note in place, it's a movie full of irony, passion and bluesy riffs.
    • 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.
    • 36 Metascore
    • 75 Michael Wilmington
    It's beautifully shot on Cephallonian locations by superb landscape photographer John Toll.
    • Chicago Tribune
    • 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
    • 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.
    • 75 Metascore
    • 75 Michael Wilmington
    This young writer-director's film seems more real and more moving than many recent political dramas from the Middle East - on either side.
    • 71 Metascore
    • 75 Michael Wilmington
    It's a funny-sad portrait of fame and its junkies, and of an era and its music.
    • 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.
    • 64 Metascore
    • 75 Michael Wilmington
    One of my favorite U.S. fiction features at 1999's Sundance Festival.
    • 62 Metascore
    • 75 Michael Wilmington
    I liked The Claim -- as much for its stark visual beauty and impassioned performances as its intelligent script and willingness to probe the tragic side of life.
    • Chicago Tribune
    • 85 Metascore
    • 75 Michael Wilmington
    Jam-packed mishmash of wall-to-wall music, trenchant character study, slick sociology and sly witty-Brit comedy.
    • 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.
    • 55 Metascore
    • 75 Michael Wilmington
    I can't imagine a better actress for this part than Australian-born Cate Blanchett. Blanchett, who can be regal ("Elizabeth") or slutty ("The Shipping News"), manages to catch the feel of Guerin.
    • 64 Metascore
    • 75 Michael Wilmington
    A slick, bloody thriller, but it's also, to its credit, a genuine whodunit.
    • 84 Metascore
    • 75 Michael Wilmington
    Magnificently sensuous and macabre.
    • 83 Metascore
    • 75 Michael Wilmington
    A unique portrait of modern crime and punishment, gives us terror without filters, a tragic event captured in all its initial immediacy and anguished aftermath.
    • 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
    • 67 Metascore
    • 75 Michael Wilmington
    Like the work of an expert tailor, it's done with unobtrusive skill, essential warmth and seamless grace.
    • 44 Metascore
    • 75 Michael Wilmington
    Elegant, scary fun.
    • 76 Metascore
    • 75 Michael Wilmington
    Playing a role of almost Bergmanesque intensity -- a tough, lonely woman dying of cancer as she examines her past -- Bisset is both convincing and radiant.
    • 79 Metascore
    • 75 Michael Wilmington
    Another of his (McElwee) beguiling "personal chronicle" movies.
    • 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.
    • 69 Metascore
    • 75 Michael Wilmington
    The film has many strengths, but one of its major assets is its solid sight line. Though we might expect it to go sentimental - with its cute cat, torn families and sympathetic, pretty protagonists - it doesn't.
    • 71 Metascore
    • 75 Michael Wilmington
    One of the best and funniest things that Martin, as writer and actor, has ever done.
    • 50 Metascore
    • 75 Michael Wilmington
    A beautifully tooled action thriller about love and terrorism.
    • 66 Metascore
    • 75 Michael Wilmington
    Skates over depravity when, like Crane, it should have dug down deeper.
    • 68 Metascore
    • 75 Michael Wilmington
    This is Hollywood expertise and Hollywood civic idealism at high levels.
    • 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.
    • 74 Metascore
    • 75 Michael Wilmington
    I don't think it's a great movie -- though Theron's is a near-great performance -- but it's not one you can easily forget.
    • 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.
    • 55 Metascore
    • 75 Michael Wilmington
    Sayles accomplishes another of his coups here. Eschewing all sentiment, avoiding all pathos, keeping his film and most of the women hard as nails, he manages to tell a compelling story.
    • 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.
    • 78 Metascore
    • 75 Michael Wilmington
    What gives the movie real flesh and fantasy is the actress playing this part, the incandescent Morton.
    • 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.
    • 60 Metascore
    • 75 Michael Wilmington
    A gloriously giddy movie about theater, love and artifice, an unabashed art film.
    • 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.
    • 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.
    • 71 Metascore
    • 75 Michael Wilmington
    A prime example of advocacy journalism--a form often criticized but perfectly honorable. Most importantly, it gives you a chance to ruminate on some crucial questions of human error, justice and life-and-death.
    • 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.
    • 59 Metascore
    • 75 Michael Wilmington
    Has what we usually want to see in movies like this: bravura action, tongue-in-cheek humor, but most of all attitude.
    • 76 Metascore
    • 75 Michael Wilmington
    It's good, but not great -- despite the heights to which Dench and Broadbent drive it. But those heights are lofty, the pain still stings.
    • 69 Metascore
    • 75 Michael Wilmington
    At a time when new westerns are in short supply, Devil a sight for sore eyes.
    • 42 Metascore
    • 75 Michael Wilmington
    Like the frosty tropical drinks the people keep sipping here, it's refreshing and icy-cool, a sinful pleasure mixed by experts.
    • 46 Metascore
    • 75 Michael Wilmington
    The movie has a nasty, creepy edge that never lets up, and the characters are deliberately grating and alienating. This is a thriller that, like some classic noirs, glories in its own mean aura, its casual profanity and grotesque violence.
    • 55 Metascore
    • 75 Michael Wilmington
    Ozpetek brings a straight love story and world politics into the mix, but it's his brilliant cast which completes the connection.
    • 56 Metascore
    • 75 Michael Wilmington
    Waterworld is often entertaining because it's screwy. Could even Ed Wood Jr. have come up with those cigarette-puffing villains, in a world with hardly enough dirt for a tobacco plant? [28 July 1995]
    • Chicago Tribune
    • 28 Metascore
    • 75 Michael Wilmington
    A daring, entertaining, but somewhat disappointing affair, something of an overreacher despite Lee's usual pyrotechnics and a brilliant cast.
    • 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.
    • 65 Metascore
    • 75 Michael Wilmington
    Probably the best thing you can say about We Were Soldiers is that it does justice to an awful conflict.
    • 73 Metascore
    • 75 Michael Wilmington
    It's good stuff: a non-fiction film on weighty issues that also manages to entertain.
    • 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.
    • 51 Metascore
    • 75 Michael Wilmington
    A classy supernatural lady-in-distress thriller.
    • 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.
    • Chicago Tribune
    • 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.
    • 60 Metascore
    • 75 Michael Wilmington
    The picture is written and acted as a lark and a romp.
    • 70 Metascore
    • 75 Michael Wilmington
    The characters need more exploration, especially the killers. Yet this look at teen life and death chills you anyway.
    • 72 Metascore
    • 75 Michael Wilmington
    Self-absorption is the vice of all these characters. That, not sex, is their sin--and Michell, Kureishi and their fine cast show this with a lucidity that cuts to the bone, a candor that draws blood.
    • 74 Metascore
    • 75 Michael Wilmington
    The sights, sounds and traffic in Red Lights are oppressively ordinary; the people are unnervingly real. That reality doubles the suspense we might feel in a more slickly made but thinly plotted thriller.
    • 75 Metascore
    • 75 Michael Wilmington
    With the exception of Amelie's voiceover narration in French, Fear and Trembling is entirely in Japanese. And the Japanese cast is superb.
    • 66 Metascore
    • 75 Michael Wilmington
    Doesn't always sizzle, but its stars do.
    • 85 Metascore
    • 75 Michael Wilmington
    Shimmers and glows. But it also stings a little -- like the lovely flame that dies and the smoke that, in yet another Cole song, gets in your eyes.
    • Chicago Tribune
    • 70 Metascore
    • 75 Michael Wilmington
    In a movie that dwells so wittily and movingly on forgiveness, you have to grant pardon. Clarkson alone makes "April" a feast.
    • 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.
    • 61 Metascore
    • 75 Michael Wilmington
    A gripping, very intelligent British thriller. Slowly, inexorably, it ties you in knots.
    • 70 Metascore
    • 75 Michael Wilmington
    It's a winner with flaws.
    • 53 Metascore
    • 75 Michael Wilmington
    A physically gorgeous production with a strong, clear conflict at its center. It's grueling but also exhilarating. Perhaps its ambitiousness is the film's biggest problem. Trying for dramatic sensitivity, historical scope, touching romance and shocking violence and suspense, it gets stretched too thin.
    • 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.
    • 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
    May fall short of its great model, "Seven Samurai" (almost all action movies do), but it's miles ahead of most of the gadget-ridden adventure epics around now.
    • 78 Metascore
    • 75 Michael Wilmington
    It's a work for specialized tastes: for audiences who adore old movies, dark jokes and some high camp.
    • 35 Metascore
    • 75 Michael Wilmington
    A movie that's underwritten, overdirected, overproduced and almost constantly over-the-top. But it's also, at its best, a big tongue-in-cheek extravaganza.
    • 78 Metascore
    • 75 Michael Wilmington
    This film carries us so touchingly into their world, it would take a heart of stone, finally, to ignore them.
    • 59 Metascore
    • 75 Michael Wilmington
    Unabashedly designed to blow its audience away.
    • 60 Metascore
    • 75 Michael Wilmington
    It's the kind of copycat movie that becomes original through its cast and treatment.
    • 48 Metascore
    • 75 Michael Wilmington
    Boasts a really spectacular cast to voice those reasonably funny jokes.
    • 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.
    • 65 Metascore
    • 75 Michael Wilmington
    It's a cool breeze of a comedy, with a slant on things that's dark but compassionate. Watching Bottle Rocket doesn't just make you laugh. It makes you smile between the laughs, think beneath the smiles.
    • 62 Metascore
    • 75 Michael Wilmington
    This toweringly ambitious picture confronts a brilliant director, Atom Egoyan, with a major historical event and a profound theme.
    • 43 Metascore
    • 75 Michael Wilmington
    Fast and frenetic and so unvarnished that it can make you feel unclean watching it. The film rubs your face in glamour and filth. But in the midst of the blood and hysteria, Kilmer plays Holmes with the dirty-angelic looks and wheedling charm of a seedy golden boy on the brink of doom.
    • 74 Metascore
    • 75 Michael Wilmington
    Good, expensive, easygoing fun. It's no masterpiece, but why should Soderbergh -- or anybody -- get three in a row?
    • 54 Metascore
    • 75 Michael Wilmington
    Macabre, oddly gripping.
    • 73 Metascore
    • 75 Michael Wilmington
    Pictorially sumptuous and sexually provocative.
    • 77 Metascore
    • 75 Michael Wilmington
    A film driven by an elusive plot buried like a cryptogram under the action. It's a delightfully screwy ethnographic murder mystery, beautifully photographed in translucent naturalistic color.
    • 66 Metascore
    • 75 Michael Wilmington
    Usually American marital problems are left to the soap operas; it's nice to see them tackled by experts, piercing personas and peeling open hearts.
    • 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.
    • Chicago Tribune
    • 75 Metascore
    • 75 Michael Wilmington
    The movie's gentle humor and offbeat whimsy prove that humanity trumps bureaucratic foolishness, in Norway or anywhere else.
    • 71 Metascore
    • 75 Michael Wilmington
    A work both rigorously stylized and deeply personal. Devotees of Kitano and Japanese cinema will admire Dolls.
    • 46 Metascore
    • 75 Michael Wilmington
    Opulence almost interferes with the movie, weighing it down when it should seem lighter than air, surrounding the inarguably brilliant Carrey with too much frosting and frou-frou.
    • Chicago Tribune
    • 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.
    • 59 Metascore
    • 75 Michael Wilmington
    May be the most fascinating, richly accomplished screw-up you'll see all year. Von Trier, who has always had a talent for provocation, nails another heroine to the cross while playing his role to the hilt - a moviemaking rebel in his own dog days.
    • 46 Metascore
    • 75 Michael Wilmington
    The imagination, energy, chutzpah and sheer affection shown for Darin by director-writer-star Spacey, who plays the singer, are admirable, kicky. This is a movie, that, like Darin himself, takes a lot of chances and delivers on many of them.
    • 53 Metascore
    • 75 Michael Wilmington
    Kline, though, does give one of the great movie performances of the year so far.
    • 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.
    • 68 Metascore
    • 75 Michael Wilmington
    It's a tasty but evasive treat, no matter what your taste in politics or movies.
    • 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.
    • 61 Metascore
    • 75 Michael Wilmington
    This movie, which aspires to be a Christmas movie classic on the "It's a Wonderful Life" level, is overwhelming, enjoyable and impressive, without being really entrancing.
    • 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.
    • 74 Metascore
    • 75 Michael Wilmington
    Wrings honest emotion and riveting dramatics from its tale.
    • 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.
    • 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.
    • 71 Metascore
    • 75 Michael Wilmington
    Really two movies: a taut, terrific, realistic crime drama, and, by the end, an over-the top, high-tech extravaganza which tries to out-Woo John Woo and turn Cruise into another Terminator.
    • 77 Metascore
    • 75 Michael Wilmington
    Flaws and all, it really does show a star being born.
    • 59 Metascore
    • 75 Michael Wilmington
    It's a high-tech thriller that really works.
    • 76 Metascore
    • 75 Michael Wilmington
    Demme's movie is just as sophisticated and knowing as Frankenheimer's, but it isn't as hip or daring. It doesn't haunt your mind or stir your sense of dread the way the '62 movie did--and it lacks almost totally the earlier film's piercing, oddball satire and humor.
    • 61 Metascore
    • 75 Michael Wilmington
    Chan is so good, so much fun to watch, that he often transcends his vehicles. And that's the case with Rumble in the Bronx, his big bid to crack the American market. [23 Feb 1996, p.C]
    • Chicago Tribune
    • 35 Metascore
    • 75 Michael Wilmington
    Mrs. Winterbourne doesn't amount to much. But it's such a professional job, done with such glow and verve -- and the people making it seem to be having such an infectiously good time -- that it's hard to resist. Good comedies are easy to love anyway. [19 Apr 1996, p.C]
    • Chicago Tribune
    • 50 Metascore
    • 75 Michael Wilmington
    In French Kiss--a picture that isn't unusually funny or original but that has expert actors, smooth direction and ravishing French locales--we can get pleasure from the sheer, relaxed polish of it all, the effortless swing. It's a good time passer. [5 May 1995, p.C]
    • Chicago Tribune
    • 44 Metascore
    • 75 Michael Wilmington
    Girl 6 is a snappy, contemporary comedy about an aspiring New York actress who drifts into and out of the world of phone sex. It's an often sexy, funny show with interesting slants on modern New York culture and mores. [22 Mar 1996, p.F]
    • Chicago Tribune
    • 49 Metascore
    • 75 Michael Wilmington
    That conscious absurdity is at the core of The Quick and the Dead. It's a rousingly grotesque, often wildly entertaining western horror-comedy, with co-producer and star Sharon Stone as a sexy lady gunslinger taking on all comers in the gunfight tournament from hell. [10 Feb 1995, p.C]
    • Chicago Tribune
    • 61 Metascore
    • 75 Michael Wilmington
    Broken Arrow is much better than the average big-time action movie because Woo has blazing style and a unique, even eccentric viewpoint. [9 Feb 1996, p.C]
    • Chicago Tribune
    • 65 Metascore
    • 75 Michael Wilmington
    Director Guy Ferland, who has made one previous feature, handles this material smoothly and well, aided by the juke-box bright colors caught by cinematographer Reynaldo Villalobos. And Eszterhas, who has never shown much flair for comedy - except for the mother lode of unintentional laughs in "Showgirls" - puts humor into this story of surprising warmth and bite. [24 Oct 1997]
    • Chicago Tribune
    • 60 Metascore
    • 75 Michael Wilmington
    The film, despite some over-obvious stretches, is mostly sad, lovely, moving, haunting. It's a striking and promising debut from a fine new filmmaker. [21 Aug 1998]
    • Chicago Tribune
    • 70 Metascore
    • 75 Michael Wilmington
    there are times when Grease really kicks in. I'm fond of Channing singing "Look at me, I'm Sandra Dee, rotten with virginity" and then telling an imaginary Troy Donahue, "I know what you wanna do." And most of the big musical numbers work, especially the showstopper: the sunlit Danny-Sandy duet to "Summer Dreams." Greasy kid stuff it all may be, but just like rock 'n' roll, it'll probably never die. [27 Mar 1998, p.A]
    • Chicago Tribune
    • 45 Metascore
    • 75 Michael Wilmington
    There's a lot of beauty and excitement in Legends of the Fall - not least from the actors. [13 Jan 1995]
    • 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.
    • 73 Metascore
    • 75 Michael Wilmington
    A highly provocative documentary.
    • 83 Metascore
    • 75 Michael Wilmington
    A movie that celebrates and mourns heroism and friendship, while reminding us how seldom we truly see either on our big screens.
    • 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.
    • 73 Metascore
    • 75 Michael Wilmington
    As solid as the earth, rich as a good meal and sometimes funny as hell.
    • 66 Metascore
    • 75 Michael Wilmington
    Like the moving 1999 American "A Walk on the Moon," with Diane Lane and Viggo Mortensen, Hard Goodbyes juxtaposes a family crisis with the excitement of the period before and during Neil Armstrong's 1969 moonwalk.
    • 52 Metascore
    • 75 Michael Wilmington
    A "Chekhovian" movie that's closer to the master's mood than many, it's also a jazzy, rainy day film that makes serious and amusing points about life and people in the midst of its downpour.
    • 78 Metascore
    • 75 Michael Wilmington
    In many ways, it's a painful story, but it's also full of curious triumphs and outlandish redemptions.
    • 73 Metascore
    • 75 Michael Wilmington
    The racial and sexual politics of Heading South may trouble some audiences; Cantet is definitely not a moralist in the usual sense.
    • 66 Metascore
    • 75 Michael Wilmington
    Fascinating as Buzz often is, the film obviously was made with limited resources, transferred to film from DV, with grainy clips from the trailers for Bezzerides-scripted movies rather than snippets of the movies themselves.
    • 67 Metascore
    • 75 Michael Wilmington
    A delicately crafted, gently inflected, lovely little movie about the need for love, directed and co-written by Singapore's Eric Khoo ("Mee Pok Man").
    • 68 Metascore
    • 75 Michael Wilmington
    The value of Romantico is that it lets us experience vicariously what Carmelo and others like him go through.
    • 66 Metascore
    • 75 Michael Wilmington
    This is a comedy made for people who think, who like smart talk and who, like the Perelmans, know the score.
    • 39 Metascore
    • 75 Michael Wilmington
    The movie--while it doesn't knock you out--doesn't self-destruct either. Besson may never rise to the level of his best American models here, but it's fun watching him try.
    • 61 Metascore
    • 75 Michael Wilmington
    The French filmmakers lend it their special aesthetic/dramatic sense, and the Masai actors ground the story in everyday realism and humanity. Together, they create a film and a legend to remember.
    • 60 Metascore
    • 75 Michael Wilmington
    Best of all though, we get to experience the whole fest itself, over four turbulent decades-an era from which Glastonbury, like Woodstock in its day, offers a halcyon "timeout."
    • 70 Metascore
    • 75 Michael Wilmington
    One of the movie's most moving elements is the duo's famous prison correspondence, as eloquently read by Tony Shalhoub as Sacco and John Turturro as Vanzetti. But Miller's obvious passion and dedication shine throughout.
    • 55 Metascore
    • 75 Michael Wilmington
    Surviving Picasso is an intelligent, beautifully crafted and engrossing Ismail Merchant-James Ivory biographical portrait of the century's most famous and successful painter. [4 Oct 1996]
    • Chicago Tribune
    • 77 Metascore
    • 75 Michael Wilmington
    A stark, painful drama about pregnancy--a subject rarely treated this fully, candidly or tragically.
    • 52 Metascore
    • 75 Michael Wilmington
    Frederick is the key to the movie and she's definitely an impressive new talent, someone who can really hold the screen and who delivers something striking or memorable in every scene.
    • 46 Metascore
    • 75 Michael Wilmington
    I liked Flirt better than any of Hartley's films since "Trust." The playfulness he shows here seems better integrated, more meaningful, than the strange narrative whimsies of 1992's "Simple Men" or 1994's "Amateur." [08 Nov 1996]
    • Chicago Tribune
    • 67 Metascore
    • 75 Michael Wilmington
    One of the most hopeful movies I've seen recently--not just for its humane, realistic story line, but in its very being.
    • 70 Metascore
    • 70 Michael Wilmington
    Fascinating documentary.
    • 57 Metascore
    • 70 Michael Wilmington
    But there's something missing, something tentative and uncertain. In order to pull off a magic trick, you often have to distract the audience with smooth patter, clever detail or indirection. And this movie tries to play it so pure and unabashed that we can see right up its sleeves. [21 Apr 1989, Calendar, p.6-1]
    • Los Angeles Times
    • 67 Metascore
    • 70 Michael Wilmington
    Passion, obsession, mad love, the violent clash of insider and outsider-all these themes, plus the performances, are rich enough to carry us past that wounded climax, if not to carry the movie past the fatal attractions of the big box-office cliche. [18 Sep 1987, p.1]
    • Los Angeles Times
    • 70 Metascore
    • 70 Michael Wilmington
    Lethal Weapon 2 has the brain-rattling pace of a terminal speed freak going the wrong way down an expressway. [7 Jul 1989, p.1]
    • Los Angeles Times
    • 54 Metascore
    • 70 Michael Wilmington
    In Rocky V, the fifth and presumably last episode of Sylvester Stallone's Rocky Balboa saga, the writer-star once again contrives a way to make his hulking, sad-eyed gladiator the underdog. And we get whiffs of funkiness and humanity stirring around for the first time since the original Rocky. [16 Nov 1990, p.1]
    • Los Angeles Times
    • 66 Metascore
    • 70 Michael Wilmington
    The film itself is playful, weird, unpredictable and a bit tasteless. [10 Apr 1992]
    • Los Angeles Times
    • 50 Metascore
    • 70 Michael Wilmington
    To say Young Guns is one of the best big Westerns of the '80s doesn't mean much: Westerns have been almost moribund since 1976. But it does hint at this movie's surprising vitality, bloody ebullience and violent impetuosity-qualities it shares with crazy little Billy. [12 Aug 1988, p.11]
    • Los Angeles Times
    • 83 Metascore
    • 70 Michael Wilmington
    Branagh's expertly cut and reshaped Henry V gives us the grimy face of war, yet he also gives us the guts - and the soul and poetry that animate them both. [8 Nov 1989]
    • Los Angeles Times
    • 46 Metascore
    • 70 Michael Wilmington
    If Spaceballs disappoints you, it isn't because it's unfunny or not entertaining. Brooks at medium pressure is still more amusing than most movie makers. [25 Jun 1987, p.1]
    • Los Angeles Times
    • 53 Metascore
    • 70 Michael Wilmington
    Twins starts with an overblown fairy-tale quality that seems as if it should work. But, by the finish, the movie collapses on the shoulders of the stars. It works because they both showed up and delivered the goods and kept their end of the deal. [9 Dec 1988, p.1]
    • Los Angeles Times
    • 61 Metascore
    • 70 Michael Wilmington
    Red Heat is directed in a fiery, muscular, pop-graphic style. And it has a James Horner score that puckishly mixes Prokofiev and rhythm and blues. But it's also a movie with a cramped interior. The action scenes seem to be squeezing out everything else, pressing the characters against the wall. [17 Jun 1988, p.1]
    • Los Angeles Times
    • 65 Metascore
    • 70 Michael Wilmington
    What many American movies do well these days -- action, violence, hell-for-leather street spectacle -- Darkman does better. That may be praise enough. [24 Aug. 1990, p.F10]
    • Los Angeles Times
    • 65 Metascore
    • 70 Michael Wilmington
    There's an urgency about "Star Trek VI" that comes from its deliberate topicality. [6 Dec. 1991, p.F1]
    • Los Angeles Times
    • 65 Metascore
    • 70 Michael Wilmington
    It's a zippy melodrama for small-town America and small-towners at heart: well-executed kitsch for audiences that will still be amused at the notion that the bugs are getting so big, they'll drag us all down.
    • 47 Metascore
    • 63 Michael Wilmington
    It's interesting - in its own let-it-all-hang-out, shaky-camera way.
    • Chicago Tribune
    • 37 Metascore
    • 63 Michael Wilmington
    Even if you enjoyed the mean, funny 1995 John Travolta-Elmore Leonard crime comedy "Get Shorty"-and many of us did-this forced sequel isn't likely to help you repeat the experience.
    • 44 Metascore
    • 63 Michael Wilmington
    Good action movies live on style and excitement. But they also need credibility, and in Hostage, ALMOST a good genre piece, plausibility keeps getting slaughtered.
    • Chicago Tribune
    • 59 Metascore
    • 63 Michael Wilmington
    But the film disappoints, partly because it inspires such large expectations.
    • 53 Metascore
    • 63 Michael Wilmington
    As bizarre, provocative and almost deliberately off-putting an indie picture as anything that's popped up in theaters recently.
    • 40 Metascore
    • 63 Michael Wilmington
    I don't think it will seriously disappoint longtime fans, but it made me itchy as I watched it unfold in ways that the comics never did when I read them in the '60s.
    • 80 Metascore
    • 63 Michael Wilmington
    Sometimes one performance makes a film worthwhile, and Junebug has one: an astonishing, moving portrayal of down-home innocence and optimism by Amy Adams.
    • 46 Metascore
    • 63 Michael Wilmington
    Is this the modern version of "Going My Way," with those squabbling, heart-warming Irish Catholic priests mixing up pop songs and hymns? Well, in a way it almost is, though its mood is far different and it's set in a far different world that moves to a different tempo and has graver and more troubling social crises.
    • 62 Metascore
    • 63 Michael Wilmington
    In the third story, set in Asheville, N.C., that excellent actress Hunt guides us steadily through what could be a minefield of sentimentality.
    • 41 Metascore
    • 63 Michael Wilmington
    Despite the actors, the visuals and Forster's directorial swagger, the movie lacks impact.
    • 66 Metascore
    • 63 Michael Wilmington
    A bloody strange movie--and a surprise. Who would have thought that you could put together an anthology of "extreme" Asian horror featurettes by three cutting-edge Asian directors where the most tasteful, restrained contribution was the one by Japanese mad dog moviemaker Takashi Miike?
    • 44 Metascore
    • 63 Michael Wilmington
    It's a bit too muddy, dismal-looking and smoky to beguile us, too fixated on filth and too dreary-looking to really shock us.
    • 53 Metascore
    • 63 Michael Wilmington
    Thanks to the actors and the way the movie lets them loose, it's often funny or moving at all the right moments.
    • 71 Metascore
    • 63 Michael Wilmington
    You either go for a movie like this or you don't. But though I didn't like it much, I've got to admit that The Descent is a nerve-jangler.
    • 45 Metascore
    • 63 Michael Wilmington
    Hoodwinked treats "Red Riding Hood" as a detective story we've never really understood until now, with nuttier motivations, more complex characters and a screwier climax.
    • 38 Metascore
    • 63 Michael Wilmington
    This Pink Panther really doesn't have to achieve the heights of the original; it just has to be funny on its own terms. But it pales there too. Kline, a master of comic hypocrisy, deserves more screen time, Emily Mortimer is wasted as Clouseau's adoring assistant Nicole and Knowles is over indulged as Xania.
    • 69 Metascore
    • 63 Michael Wilmington
    Proves, unhappily enough, how U.S.-style media politics is spreading around the world.
    • 69 Metascore
    • 63 Michael Wilmington
    In many respects, Forgiving Dr. Mengele is an ordinary documentary, stylistically and technically unexceptional. But its subject enobles the work. So does Kor : determined, indomitable, and by the end of the movie, a symbol herself of both survival and mercy.
    • 68 Metascore
    • 63 Michael Wilmington
    Democracy might not really come from a bottle of shampoo, but "Beauty Academy" teaches us that, sometimes, mascara really matters.
    • 54 Metascore
    • 63 Michael Wilmington
    As a director, Buscemi is drier than he is as a performer: more quietly funny, less intense and sometimes weirdly compassionate.
    • 41 Metascore
    • 63 Michael Wilmington
    It's a depressing story made even more of a downer by the absence of any Stones-performed music from their prime '60s years.
    • 62 Metascore
    • 63 Michael Wilmington
    A confessional film that's almost too confessional--is like getting buttonholed by a casual acquaintance at a party and then subjected to a flood of highly intimate revelations that just don't stop.
    • 33 Metascore
    • 63 Michael Wilmington
    RV
    Robin Williams is such a great comic virtuoso that it can almost hurt to see him straining to pump life into a conventional, uninspired, sometimes-goofy big-studio comedy such as RV.
    • 58 Metascore
    • 63 Michael Wilmington
    Disappointingly, X-Men: The Last Stand slides back between the first two episodes. It's not stuporous, and it's not super.
    • 67 Metascore
    • 63 Michael Wilmington
    Russian Dolls, like "L'Auberge," has an excellent cast (mostly the same one, in fact) and an impish style and speed that gives it more obvious audience appeal than the average French film.
    • 58 Metascore
    • 63 Michael Wilmington
    The King simply unsettles and bothers us -- and it finally misses both the true terror and the twisted redemption it needs for its wicked song, a would-be "Heartbreak Hotel" of horror, to really chill our spines.
    • 65 Metascore
    • 63 Michael Wilmington
    Begins like a house afire and then fizzles out into a quasi-supernatural dead end.
    • 70 Metascore
    • 63 Michael Wilmington
    A ridiculous but exciting action movie.
    • 40 Metascore
    • 63 Michael Wilmington
    An independent American art film that seems to be masquerading as Victorian-era pornography--and it's not quite as interesting or provocative as that description might make it sound.
    • 46 Metascore
    • 63 Michael Wilmington
    It's a slick, ambitious movie that doesn't always nail all the many moods and themes it's after.
    • 49 Metascore
    • 63 Michael Wilmington
    A movie of such cheerful craziness and nonstop ferocity that you can't take it seriously for a second.
    • 74 Metascore
    • 63 Michael Wilmington
    The subject of Iraq haunts and divides us so much these days that a film like Laura Poitras' documentary My Country My Country is valuable, no matter its level of achievement.
    • 52 Metascore
    • 63 Michael Wilmington
    A stylish, nasty, very well-done Belgian horror movie.
    • 84 Metascore
    • 63 Michael Wilmington
    The film's mood and style are pitched somewhere between '60s American indie and French New Wave and, as you watch these people, they seem painfully, amusingly on-target. They may irritate you a little, but that's the right response.
    • 51 Metascore
    • 63 Michael Wilmington
    Probably the last movie to carry a credit for the late Christopher Reeve--as well as the last credit for Reeve's late wife, Dana.
    • 56 Metascore
    • 63 Michael Wilmington
    Harsh Times, is almost a good, salty urban thriller.
    • 49 Metascore
    • 63 Michael Wilmington
    Love can be a battleground, and, despite its homey-sounding title and gentle, almost nonchalant air, Jeff Lipsky's Flannel Pajamas gives us a series of messages from the front.
    • 51 Metascore
    • 63 Michael Wilmington
    It's possible to admire or respect a movie without enjoying it too much, and that's partly the reaction I had to Darren Aronofsky's The Fountain. It's an incredibly ambitious film of sometimes thrilling visual achievement, but it didn't connect fully to my mind and nerves.
    • 47 Metascore
    • 63 Michael Wilmington
    It's a fairly well-written piece and an even better acted one. And these days, when independent films are increasingly the salvation of the serious American dramatic movie, it's heartening to see something like The Architect, which tries to reawaken a major American dramatic tradition and sometimes succeeds.
    • 54 Metascore
    • 63 Michael Wilmington
    Considering how good "Puccini's" middle often is, it's a shame it falls down fore and aft. But Maggenti, who loves Carole Lombard and William Powell in "My Man Godfrey," is tapping a likable vein here. She should open it up again.
    • 54 Metascore
    • 63 Michael Wilmington
    The content may be dubious, but the execution is hypnotic.
    • 72 Metascore
    • 63 Michael Wilmington
    The late U.S. Rep. Sonny Bono and his widow and successor Mary Bono have spent a good deal of time trying to save it. It's a hard task, but the film does suggest there's more to the sea than meets the eye.
    • 48 Metascore
    • 63 Michael Wilmington
    So stunningly shot and visualized--and scored so hauntingly well by Anja Garbarek, the daughter of saxophonist/composer Jan Garbarek--that it works even if you don't pay attention to the story. Maybe it works better that way.
    • 69 Metascore
    • 63 Michael Wilmington
    Pugach's selfishness, his inability to detach love from gratification, is the key to this crazy story.
    • 55 Metascore
    • 63 Michael Wilmington
    Erratically acted and, at times, clumsily written.
    • 50 Metascore
    • 63 Michael Wilmington
    Overall, The Brothers is glossy fun, but it should have given us more ideas and energy.
    • Chicago Tribune
    • 37 Metascore
    • 63 Michael Wilmington
    Turns out to be a Hollywood sequel of surpassing silliness and wasted talent.
    • 57 Metascore
    • 63 Michael Wilmington
    Dark as it is, the humor makes it work, especially Greene's typically witty and compassionate portrayal of Mogie.
    • 64 Metascore
    • 63 Michael Wilmington
    Cradle Will Rock is the masterpiece that wasn't, a magnificent opportunity blown to hell.
    • Chicago Tribune
    • 49 Metascore
    • 63 Michael Wilmington
    A wildly improbable story that neither Newman nor co-stars Fiorentino and Mulroney, for all their panache and chemistry, can make much sense of it.
    • 52 Metascore
    • 63 Michael Wilmington
    Strong, hard, dirty, funny, moving atmospheric and laced with scabrously musical street dialogue.
    • 29 Metascore
    • 63 Michael Wilmington
    Tries to blend old film noir and new high-tech thriller styles with only sporadic impact.
    • Chicago Tribune
    • 75 Metascore
    • 63 Michael Wilmington
    If Hollywood is really a dream factory, then it's the movie moguls and movie stars who live that dream to the hilt. In the late 1970s few lived quite as large as Robert Evans.
    • 55 Metascore
    • 63 Michael Wilmington
    A flashy, splashy and violent chase thriller.
    • 25 Metascore
    • 63 Michael Wilmington
    All too obvious, all too easy, the sort of tongue-in-chic L.A. comedy that mistakes glibness for high style, heartfelt pop choruses for wisdom.
    • 36 Metascore
    • 63 Michael Wilmington
    Like an episode of "Friends" where the entire cast has been given aphrodisiacs and locked up.
    • 62 Metascore
    • 63 Michael Wilmington
    Just because it's true to life doesn't mean it can sing.
    • 59 Metascore
    • 63 Michael Wilmington
    I liked the idea of the movie more than the movie itself -- though sections of it are mind-blowing.
    • Chicago Tribune
    • 55 Metascore
    • 63 Michael Wilmington
    A bawdy comedy that convincingly celebrates the resilience of the urban poor and the power of friendship in the teeth of despair.
    • Chicago Tribune
    • 36 Metascore
    • 63 Michael Wilmington
    Seethes with cruel lust and brainy fancy.
    • Chicago Tribune
    • 46 Metascore
    • 63 Michael Wilmington
    Far too self-absorbed a picture.
    • 59 Metascore
    • 63 Michael Wilmington
    Despite Fiennes' splendid moodiness and Tyler's radiant vulnerability, despite lovely settings... this movie is dull.
    • 37 Metascore
    • 63 Michael Wilmington
    Disturbingly lightweight and emotionally risk-free.
    • 68 Metascore
    • 63 Michael Wilmington
    Fun to watch it may be, but it's shallow fun. Like the drugs and booze the characters keep using -- and even the sex -- it's a passing pleasure.
    • Chicago Tribune
    • 26 Metascore
    • 63 Michael Wilmington
    A cranky failure with brilliant moments.
    • 44 Metascore
    • 63 Michael Wilmington
    The movie loses its magic by the time the solution is revealed.
    • Chicago Tribune
    • 63 Metascore
    • 63 Michael Wilmington
    It's worth seeing simply to make the acquaintance of Tobias, a really extraordinary old guy.
    • Chicago Tribune
    • 41 Metascore
    • 63 Michael Wilmington
    A somewhat bewildering and unsatisfying film that nevertheless contains more inspired moments and brilliant scenes than many movies we call successes.
    • 53 Metascore
    • 63 Michael Wilmington
    It's a good film but an over-obvious one. I wish I'd liked it more.
    • Chicago Tribune
    • 51 Metascore
    • 63 Michael Wilmington
    A paper-thin wish-fulfillment comedy about escaping small-town repressions and blasting conformity.
    • 56 Metascore
    • 63 Michael Wilmington
    Pseudo art can be fun, though, even if it doesn't quite awaken all your senses.
    • Chicago Tribune
    • 32 Metascore
    • 63 Michael Wilmington
    Fghting your heart out at the end of this movie can't win the prize or the crowd.
    • 33 Metascore
    • 63 Michael Wilmington
    Jolie and Banderas are two hot actors, in many senses of the word, and their scenes together have a lewd excitement.
    • Chicago Tribune
    • 38 Metascore
    • 63 Michael Wilmington
    It's still strangely remote, only fitfully romantic, never really convincing.
    • 57 Metascore
    • 63 Michael Wilmington
    In some ways it's not a film that surprises us much. But it's a notable directorial debut anyway -- smartly written, very well cast and skillfully done.
    • 60 Metascore
    • 63 Michael Wilmington
    Carrera's style is hard-hitting, lucid and technically superior (if unimaginative). El Crimen del Padre Amaro eventually moves and stirs you, even if it often resembles those steamy Mexican TV dramas/soap operas called telenovelas.
    • 58 Metascore
    • 63 Michael Wilmington
    It's the equivalent of our "Gone With the Wind," Russia's "War and Peace" or, to take a more modest example, South Korea's "Chunhyang." Sheer ambition and grandiose make the film interesting -- up to a point.
    • 40 Metascore
    • 63 Michael Wilmington
    The film is not exactly a documentary, and not quite a period horror movie either. But it has elements of both. At its best, it's hypnotic and provocative.
    • 47 Metascore
    • 63 Michael Wilmington
    One of the most discouraging things about many big studio movies is the way they waste resources, mainly talent and money. Pushing Tin manages to waste an excellent cast, a glossy production and what initially seems to be a bright, funny script. [23 April 1999, Friday, p.A]
    • Chicago Tribune
    • 54 Metascore
    • 63 Michael Wilmington
    The whole movie plays like an improbable blend of "Repulsion," "High Noon" and the archetypal low-budget rape/revenge shocker "I Spit on Your Grave." Queasy audiences beware, but midnight-movie bookers take note.
    • 37 Metascore
    • 63 Michael Wilmington
    This new heist movie by the great thriller director John Frankenheimer flails around like its own dysfunctional gang of casino robbers.
    • 62 Metascore
    • 63 Michael Wilmington
    As beautiful as all the film's technology is, it needs more real human beings around - to pull the switches, man the pumps and scuttle through those corridors.
    • 48 Metascore
    • 63 Michael Wilmington
    If you were forced to judge it simply on its action-movie visual and technical elements, you'd have to count it a roaring success... . But if you lay aside that action and watch the people instead, it's a morass of dimwitted family crises and hack action-movie cliches.
    • 53 Metascore
    • 63 Michael Wilmington
    Starts like a house afire and then suffers an imagination burnout.
    • 62 Metascore
    • 63 Michael Wilmington
    Don't expect a lot, and you'll probably enjoy Happy, Texas, as I did -- mostly. At the very least, Steve Zahn will make you laugh.
    • 54 Metascore
    • 63 Michael Wilmington
    A movie best suited for a lazy afternoon or a languorous night, particularly if you're a Francophile. Charming, glamorous, emotionally suggestive but slight, it's full of beautiful and colorful people.
    • 49 Metascore
    • 63 Michael Wilmington
    Just because a movie was inspired by real life and has good intentions doesn't mean it can't wind up as phony as a three-dollar bill.
    • 50 Metascore
    • 63 Michael Wilmington
    Takes a fascinating true story and turns it into a conventional cop thriller, hoking up the provocative three-generation saga of the LaMarca family.
    • 48 Metascore
    • 63 Michael Wilmington
    This is a movie that, for all its often high intelligence and skill, seems emotionally underdone, bogged down in tony literary and cinematic cliches.
    • Chicago Tribune
    • 45 Metascore
    • 63 Michael Wilmington
    It's a weird little movie that's amusing enough while you watch it, offering fine acting moments and pungent insights into modern L.A.'s show-biz and media subcultures. But it doesn't leave you with much.
    • 53 Metascore
    • 63 Michael Wilmington
    Slender but surprisingly smart and pleasing.
    • 33 Metascore
    • 63 Michael Wilmington
    Very much a looking-back movie; its most obvious model is "American Graffiti." But if you know that particular slice of early '80s Manhattan, you may be as amused as I was. [26 Feb 1999]
    • Chicago Tribune
    • 28 Metascore
    • 63 Michael Wilmington
    The role sounds like a sentimental trap, but Penn doesn't fall into it. It's a sensational performance, and he illumines a movie that sometimes seems in danger of descending into modish Hollywood political correctness.
    • 38 Metascore
    • 63 Michael Wilmington
    Despite greater resources and high-tech whiz bang than the first movie, has a lot more turkey than dinner.
    • 34 Metascore
    • 63 Michael Wilmington
    Something that gets your motor racing briefly, but which you've seen all too often.
    • 69 Metascore
    • 63 Michael Wilmington
    This movie gives us mostly the "what" when we need a bit of the "why" as well. In her other, better work, Denis always supplies it.
    • 47 Metascore
    • 63 Michael Wilmington
    Though it's sweet and likable to a fault, it's also a movie that never seems heartfelt or deep.
    • 45 Metascore
    • 63 Michael Wilmington
    Despite intelligent, sympathetic direction by Gordon, a brilliant lead performance by Robert Downey Jr. and an adapted script written by Potter himself before his 1991 death, this "Detective" pales next to its predecessor.
    • 52 Metascore
    • 63 Michael Wilmington
    Possession needs a sharp eye, a wicked tongue, less reverence and much more of its author's voice.
    • 31 Metascore
    • 63 Michael Wilmington
    A comedy of bad manners with many punchy moments and many irritatingly glib ones.
    • 67 Metascore
    • 63 Michael Wilmington
    Its fascination may be limited to those already very familiar with his works and collaborators - and his sensual, highly subjective style.

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