Michael Wilmington
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For 1,277 reviews, this critic has graded:
  • 76% higher than the average critic
  • 2% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 13.1 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Vera Drake
Lowest review score: 0 Chaos
Score distribution:
1,277 movie reviews
    • 53 Metascore
    • 75 Michael Wilmington
    This is only a movie. But a good one. May Roddy Doyle give us many more.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 75 Michael Wilmington
    Haunts the conscience, troubles the spirit.
    • Chicago Tribune
    • 60 Metascore
    • 75 Michael Wilmington
    A gloriously giddy movie about theater, love and artifice, an unabashed art film.
    • 71 Metascore
    • 75 Michael Wilmington
    It's a warmly realistic comedy-drama that pulls you right into its lively, well-drawn L.A. milieu.
    • 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
    • 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.
    • 56 Metascore
    • 75 Michael Wilmington
    Inspirational biographical movie that really works.
    • 73 Metascore
    • 75 Michael Wilmington
    An absorbing story. Even though it takes you to places you may not want to go, the film never loses its human touch--that feel of skin on skin or of the past inescapably invading the present.
    • 63 Metascore
    • 75 Michael Wilmington
    The film, both light-hearted and serious, suggests that freedom comes more easily within restrictions--and that's true of Albou's approach as well.
    • 74 Metascore
    • 75 Michael Wilmington
    Good, expensive, easygoing fun. It's no masterpiece, but why should Soderbergh -- or anybody -- get three in a row?
    • 49 Metascore
    • 75 Michael Wilmington
    Martin Lawrence and Ashton Kutcher may seem like an odd-sounding comedy team, but in some weird way, they click as voice-actors and cartoon buddies in Open Season.
    • 56 Metascore
    • 75 Michael Wilmington
    One of the more intelligent, better-made new movies around right now, but, despite everything, it doesn't really connect with the nerves and heart. It's a romance without anguish, although the pain of love is really what it's all about.
    • 71 Metascore
    • 75 Michael Wilmington
    Factotum, starring Matt Dillon and Lili Taylor in two of their best film performances, is a good movie about the L.A. underbelly, as recalled by an expert: Charles Bukowski.
    • 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.
    • 68 Metascore
    • 75 Michael Wilmington
    The value of Romantico is that it lets us experience vicariously what Carmelo and others like him go through.
    • 71 Metascore
    • 75 Michael Wilmington
    It's an intricate, sometimes implausible ideological thriller that might be better as a smaller-scaled, less% preachy psychological drama. Still, "Paradise" catches and keeps your attention because of its daring subject, real-life backdrops and the intensity of its actors.
    • 61 Metascore
    • 75 Michael Wilmington
    Creating a mood that suggests an unholy mix of Czech novelist Franz Kafka, American pulp fictionist Jim Thompson and French heist moviemaker Jean-Pierre Melville, Babluani's story is about the perils of get-rich-quick schemes.
    • 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.
    • 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
    • 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.
    • 64 Metascore
    • 75 Michael Wilmington
    A slick, bloody thriller, but it's also, to its credit, a genuine whodunit.
    • 53 Metascore
    • 75 Michael Wilmington
    May be corny, but it's also absorbing, sweet and powerfully acted. It's a film about falling in love and looking back on it, and it avoids many of the genre's syrupy dangers.
    • 59 Metascore
    • 75 Michael Wilmington
    Though not as good or as massively innovative as its predecessor, is still a mountainous undertaking.
    • Chicago Tribune
    • 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.
    • 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.
    • 67 Metascore
    • 75 Michael Wilmington
    Like the work of an expert tailor, it's done with unobtrusive skill, essential warmth and seamless grace.
    • 54 Metascore
    • 75 Michael Wilmington
    Macabre, oddly gripping.
    • 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
    • 64 Metascore
    • 75 Michael Wilmington
    It's a fervent, topical political drama of extraordinary impact and ferocity.
    • 70 Metascore
    • 75 Michael Wilmington
    Nolan is a fascinating, offbeat choice for a huge movie franchise such as this. Just as Bale turns Batman into a near-tragic obsessive -- a Scarlet Pimpernel with the soul of a Hamlet and Monte Cristo -- Nolan turns Batman Begins into something much closer to Miller's "Dark Knight" interpretation.
    • 44 Metascore
    • 75 Michael Wilmington
    Elegant, scary fun.
    • 59 Metascore
    • 75 Michael Wilmington
    There's nothing particularly original or striking about Ping Pong except its style. It's a breezy, likable story, and the director here, Fumihiko Sori, obviously enjoys his work.
    • 73 Metascore
    • 75 Michael Wilmington
    A highly provocative documentary.
    • 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.
    • 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
    Has great themes and great actors.
    • Chicago Tribune
    • 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.
    • 68 Metascore
    • 75 Michael Wilmington
    Becket, now richly restored, is one of those '60s British theatrical spectaculars that we always imagine as a bit better than they were.
    • 57 Metascore
    • 75 Michael Wilmington
    In Color Me Kubrick, John Malkovich has one of the roles of his life, and he acts it up like a haughty gourmet who's just picked up a succulent treat.
    • 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.
    • 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
    • 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
    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.
    • 49 Metascore
    • 75 Michael Wilmington
    There's a sass and bite to Winger's acting, a grinning intelligence, unabashed sexiness and total immersion that make her one of the movies' few hipster female stars.
    • 68 Metascore
    • 75 Michael Wilmington
    This is Hollywood expertise and Hollywood civic idealism at high levels.
    • 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
    • 78 Metascore
    • 75 Michael Wilmington
    What gives the movie real flesh and fantasy is the actress playing this part, the incandescent Morton.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 75 Michael Wilmington
    The acting has the bravura stage eloquence of Broadway Shakespeare and the movie is narrated, beautifully, by John Hurt.
    • 75 Metascore
    • 75 Michael Wilmington
    A comedy of evil and strange redemption, Lady Vengeance makes sure that we feel the pain, that we know what it's like to unreasonably suffer, because those are the rules of its mad, wounding, vengeful world.
    • 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
    • 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.
    • 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.
    • 59 Metascore
    • 75 Michael Wilmington
    Copying Beethoven, at its best, is a sort of grand cinema opera of the composer's life and music.
    • 62 Metascore
    • 75 Michael Wilmington
    This toweringly ambitious picture confronts a brilliant director, Atom Egoyan, with a major historical event and a profound theme.
    • 54 Metascore
    • 75 Michael Wilmington
    The movie rips and roars.
    • 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.
    • 65 Metascore
    • 75 Michael Wilmington
    The new Bad News Bears may not make you cheer, but it should provide laughs and a good time. Isn't that what some movies are all about?
    • 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
    • 62 Metascore
    • 75 Michael Wilmington
    On a direct line with the whimsical small-town comedies of the '40s and '50s.
    • 74 Metascore
    • 75 Michael Wilmington
    Wrings honest emotion and riveting dramatics from its tale.
    • 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.
    • 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.
    • 73 Metascore
    • 75 Michael Wilmington
    Pictorially sumptuous and sexually provocative.
    • 73 Metascore
    • 75 Michael Wilmington
    The Cats of Mirikitani seems all too short; it has enough meat to be turned into an excellent dramatic film.
    • 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.
    • 68 Metascore
    • 75 Michael Wilmington
    This movie lets the characters and tropes borrowed from the original Stan Lee comic live and breathe.
    • 77 Metascore
    • 75 Michael Wilmington
    Flaws and all, it really does show a star being born.
    • 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.
    • 70 Metascore
    • 75 Michael Wilmington
    Seems small in subject and scope, but it's large in spirit and implication.
    • 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
    • 61 Metascore
    • 75 Michael Wilmington
    An inspirational movie about a inspiring figure: Emmanuel Ofosu Yeboah of Ghana.
    • 69 Metascore
    • 75 Michael Wilmington
    The result is something so old it's new, so corny it's funny. And while Tears of the Black Tiger is nothing more than entertaining, at least it's that.
    • 81 Metascore
    • 75 Michael Wilmington
    We've gotten perhaps too used to the computerized wizardry of our own cartoon features; Kon, like Miyazaki shows us some older ways that can still transfix us.
    • 70 Metascore
    • 75 Michael Wilmington
    It's a winner with flaws.
    • 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.
    • 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
    • 46 Metascore
    • 75 Michael Wilmington
    Writer-director Gary David Goldberg's script is full of complex and lively love patter, which Cusack especially rattles off with sometimes breakneck speed.
    • 69 Metascore
    • 75 Michael Wilmington
    At a time when new westerns are in short supply, Devil a sight for sore eyes.
    • 58 Metascore
    • 75 Michael Wilmington
    Movies like First Snow rise or fall on characters and atmosphere, and Fergus gets them both. But though the story's resolution does have irony and even a certain power, it lacks the charge, the Serlingesque "gotcha," that it needs.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 75 Michael Wilmington
    There's the script -- and that's the problem.
    • 71 Metascore
    • 75 Michael Wilmington
    It's a funny-sad portrait of fame and its junkies, and of an era and its music.
    • 52 Metascore
    • 75 Michael Wilmington
    The Nativity Story surprised me. I didn't expect such an obvious art film approach. Yet the Bible, in the King James version, is great English literature.
    • 61 Metascore
    • 75 Michael Wilmington
    A gripping, very intelligent British thriller. Slowly, inexorably, it ties you in knots.
    • 62 Metascore
    • 75 Michael Wilmington
    It's an ensemble piece with a dark, salty mood that reminded me of Robert Altman and Robert Aldrich, with a touch of Francis Ford Coppola. It's notably non-"gung ho."
    • 78 Metascore
    • 75 Michael Wilmington
    An unashamed art picture, the kind of film where extreme aestheticism mixes with nightmare dread, where the story resembles a bad dream and where Freudian symbols cluster around the events like a swarm of insects. It's a very pretty film, but it's also lean, enigmatic and so obscure.
    • 77 Metascore
    • 75 Michael Wilmington
    A stark, painful drama about pregnancy--a subject rarely treated this fully, candidly or tragically.
    • 72 Metascore
    • 75 Michael Wilmington
    Chicago-bred Haskell is such an intense, contentious, prickly figure, he would tend to take over any film portrait, and he definitely dominates here.
    • 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
    • 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.
    • 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
    • 61 Metascore
    • 75 Michael Wilmington
    A wry romantic comedy set among Bruno's targets, the Grenoble bourgeois.
    • 52 Metascore
    • 75 Michael Wilmington
    As a sheer ghostly thriller, it's mostly a spell-binder, but I was disappointed at the ending.
    • 75 Metascore
    • 75 Michael Wilmington
    Mantel and Skrovan's documentary astutely reminds us of why we need the world's Naders. It's a reasonable movie about an often admirably unreasonable man.
    • 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.
    • 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.
    • 68 Metascore
    • 75 Michael Wilmington
    It's a tasty but evasive treat, no matter what your taste in politics or movies.
    • 71 Metascore
    • 75 Michael Wilmington
    A rare thriller - and a rare American film - that centers on both dramatic and moral issues, crises of conscience. And thanks to a superb central performance by Nicholson as detective Black, it's a film that compels, thrills and ends up coming very close to tragedy.
    • Chicago Tribune
    • 53 Metascore
    • 75 Michael Wilmington
    The diversity of the Beauty Shop ensemble is a large part of what makes it so much fun to watch;
    • 66 Metascore
    • 75 Michael Wilmington
    Like Workman's other films, it's a time capsule that sings.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 75 Michael Wilmington
    It has a good director, snazzy visuals and some really funny animals, and that's at least half the battle.
    • 33 Metascore
    • 75 Michael Wilmington
    (Matthau's) is a truly magical performance: hilarious, unguarded and deeply touching.
    • Chicago Tribune
    • 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.
    • 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.
    • 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
    • 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").
    • 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.
    • 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.
    • 55 Metascore
    • 75 Michael Wilmington
    The kind of smart, realistic indie family drama the movies should give us more often, just as they should more often offer performances as full-blooded and rich as Aiello's and Curtin's here.
    • 70 Metascore
    • 75 Michael Wilmington
    The characters need more exploration, especially the killers. Yet this look at teen life and death chills you anyway.
    • 71 Metascore
    • 75 Michael Wilmington
    A fine, taut, tough example of the realistic police drama.
    • 64 Metascore
    • 75 Michael Wilmington
    Hilary Swank gives a powerhouse performance as a maverick high school teacher in Freedom Writers, an often gripping and sometimes even inspiring film drama taken from the real-life story of Erin Gruwell.
    • 57 Metascore
    • 75 Michael Wilmington
    Directed by Julian Jarrold and co-written by Tim Firth ("Calendar Girls"), the movie is quite enjoyable, effortlessly well-done on every level, even moving at times, but relatively light weight.
    • 59 Metascore
    • 75 Michael Wilmington
    Unabashedly designed to blow its audience away.
    • 66 Metascore
    • 75 Michael Wilmington
    Skates over depravity when, like Crane, it should have dug down deeper.
    • 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.
    • 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
    • 67 Metascore
    • 75 Michael Wilmington
    Even though the actors are good, their characters stay stock.
    • Chicago Tribune
    • 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.
    • 84 Metascore
    • 75 Michael Wilmington
    The movie has a large theme, even if it's unspoken. Old Joy is about a particular friendship, but it's also about how American society changed in the '90s and the new century.
    • 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.
    • 78 Metascore
    • 75 Michael Wilmington
    Lucidity, austerity and quiet compassion are peculiar virtues to ascribe to a movie about a horrific real-life murder case, but those are among the best qualities of Jean-Pierre Denis' Murderous Maids.
    • 71 Metascore
    • 75 Michael Wilmington
    A realistic drama about life's uncertainties.
    • 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.
    • 71 Metascore
    • 75 Michael Wilmington
    A work both rigorously stylized and deeply personal. Devotees of Kitano and Japanese cinema will admire Dolls.
    • 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.
    • 59 Metascore
    • 75 Michael Wilmington
    It's a high-tech thriller that really works.
    • 75 Metascore
    • 75 Michael Wilmington
    The movie's gentle humor and offbeat whimsy prove that humanity trumps bureaucratic foolishness, in Norway or anywhere else.
    • 67 Metascore
    • 75 Michael Wilmington
    Dercourt, a very fine filmmaker, is a musician himself, a music teacher and one-time solo viola player with the French Symphony Orchestra. And he directs, with a musician's precision and an insider's sly wit, the world of classical music performance.
    • 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.
    • 56 Metascore
    • 75 Michael Wilmington
    There's just enough neurotic or sharp badinage and Rodeo Drive realism to make it all go down easy.
    • 57 Metascore
    • 75 Michael Wilmington
    The film, like its lovers, is fond, giddy and poetic about love and death.
    • 75 Metascore
    • 75 Michael Wilmington
    The ending of Waitress is so beguiling and whimsical that it makes you, like its diner's patrons, hungry for more--and it makes you miss that red-headed movie auteur/pastry chef/heart stealer Shelly even more.
    • 75 Metascore
    • 75 Michael Wilmington
    It's intellectual without being dry, dramatic without bombast, smart without posturing. Its characters and milieu are very well drawn, and Andre is one of the more intriguing and convincing fictional creations in recent film.
    • 79 Metascore
    • 75 Michael Wilmington
    The first 10 minutes of Lodge Kerrigan's Keane have a raw, hurtling reality that's as painfully engrossing as anything you'll see in a recent non-fiction movie, a searing portrait of one man's hell, from inside and outside.
    • 58 Metascore
    • 75 Michael Wilmington
    The artifice may be ancient, but the thought and emotions -- and especially Sorvino -- are beautifully, refreshingly modern.
    • 78 Metascore
    • 75 Michael Wilmington
    Never feels inflated -- and it builds to an ending of unusual power.
    • 62 Metascore
    • 75 Michael Wilmington
    A fairy tale comedy with the Holocaust as the background, a collision of terror and community, death and beauty.
    • 66 Metascore
    • 75 Michael Wilmington
    Doesn't always sizzle, but its stars do.
    • 64 Metascore
    • 75 Michael Wilmington
    People who love Lennon will almost certainly like the film; his detractors will almost certainly howl "bias!" Even so, it's a movie that, at its best, makes you ache with the memory of an anguished era and its fallen pop culture hero.
    • 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
    • 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
    • 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.
    • 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
    • 79 Metascore
    • 75 Michael Wilmington
    Another of his (McElwee) beguiling "personal chronicle" movies.
    • 73 Metascore
    • 75 Michael Wilmington
    Erotic, poetic and light on its feet. It's a portrayal of a runaway teenager's sexual initiation, and though it comes close to being exploitive, it keeps dancing away.
    • 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.
    • 79 Metascore
    • 75 Michael Wilmington
    Finally, the film answers a question that obviously haunts Nachtwey: Is it immoral, callous or irresponsible to win fame and recognition from images of the terror, death and suffering of others?
    • 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.
    • 63 Metascore
    • 75 Michael Wilmington
    Though "Caterina" is unusually well-acted and crafted for this kind of movie--and both more than casually insightful and irreverent about modern Italian school life, teenage mores and politics--Giancarlo is the one character who makes the movie special.
    • 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
    • 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
    • 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
    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.
    • 84 Metascore
    • 75 Michael Wilmington
    Magnificently sensuous and macabre.
    • 56 Metascore
    • 75 Michael Wilmington
    It's only a mild disappointment. The talent is still there, the film better than most. It just needs less crime, more love.
    • 55 Metascore
    • 75 Michael Wilmington
    Sometimes thrilling, sometimes suffocatingly tasteful adaptation of Stephen King's 1999 novel.
    • Chicago Tribune
    • 78 Metascore
    • 75 Michael Wilmington
    It's a work for specialized tastes: for audiences who adore old movies, dark jokes and some high camp.
    • 71 Metascore
    • 75 Michael Wilmington
    Why should we keep seeing Austen fresh, through our own, modern eyes? Because she's a writer who has never really left our field of vision. And, as this new Mansfield Park proves again, she never will.
    • 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
    • 74 Metascore
    • 75 Michael Wilmington
    Capable of enthralling.
    • 26 Metascore
    • 75 Michael Wilmington
    It's crazy, dangerous and sometimes gorgeous: a feast of nuttiness that takes you, for a while, over the edge.
    • 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."
    • 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.
    • 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
    • 55 Metascore
    • 75 Michael Wilmington
    It's "knowingly" off-the-rails--and if you're in a tolerant or adventurous mood, very entertaining.
    • 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
    • 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
    • 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
    • 70 Metascore
    • 70 Michael Wilmington
    Fascinating documentary.
    • 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
    • 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
    • 66 Metascore
    • 70 Michael Wilmington
    The film itself is playful, weird, unpredictable and a bit tasteless. [10 Apr 1992]
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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.
    • 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
    • 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.
    • 45 Metascore
    • 63 Michael Wilmington
    A film of almost paralyzing gravity and large ambitions that, almost inevitably, it can't quite meet.
    • 55 Metascore
    • 63 Michael Wilmington
    A flashy, splashy and violent chase thriller.
    • 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.
    • 64 Metascore
    • 63 Michael Wilmington
    Cradle Will Rock is the masterpiece that wasn't, a magnificent opportunity blown to hell.
    • Chicago Tribune
    • 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.
    • 47 Metascore
    • 63 Michael Wilmington
    Unlike other current D.C. types, Elle would never misplace or misidentify her own weapons of mass destruction. They're all in her wardrobe closet and makeup kit.
    • 70 Metascore
    • 63 Michael Wilmington
    A ridiculous but exciting action movie.
    • 30 Metascore
    • 63 Michael Wilmington
    Has the unfortunate effect of overtipping the dramatic scales in favor of the Southern generals and turning almost everybody into waxen idols who spout flowery rhetoric.
    • 64 Metascore
    • 63 Michael Wilmington
    Most of Frailty is so good -- done in a low-key, realistic mood of genuine creepiness and dread -- that it doesn't need formula shocks.
    • 35 Metascore
    • 63 Michael Wilmington
    It's a movie of elegant surfaces, great background music (by both the Mahlers), gossipy underpinnings and pretensions to romantic grandeur.
    • Chicago Tribune
    • 42 Metascore
    • 63 Michael Wilmington
    Freeman gives his overwrought, over-familiar scenes an unlikely shot of intelligence and dignity that cuts through the formulas and almost makes them work.
    • 45 Metascore
    • 63 Michael Wilmington
    If you're looking for purple romance with a social conscience, it doesn't get much more purple than God's Sandbox.
    • 48 Metascore
    • 63 Michael Wilmington
    It's still a disappointment: a well-mounted and well-acted suspense movie that, thanks to its illogical script, falls off a cliff midway through.
    • 49 Metascore
    • 63 Michael Wilmington
    A singularly cheerless trip, explicit but sterile, racy but dull.
    • 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
    Pugach's selfishness, his inability to detach love from gratification, is the key to this crazy story.
    • 25 Metascore
    • 63 Michael Wilmington
    One of those movies that starts like a house afire, catches you firmly in its narrative grip and then suddenly blows itself out, not really going out with a whimper but with a big, bad, ludicrous bang.
    • 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.
    • 63 Metascore
    • 63 Michael Wilmington
    As a whole, though, the movie is much less magnetic or believable than its star.
    • 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.
    • 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.
    • 44 Metascore
    • 63 Michael Wilmington
    All these good actors and all Crystal's sass and witty candor can't bring back the heyday of Billy Wilder and Preston Sturges. Or even, most of the time, their off-days.
    • 53 Metascore
    • 63 Michael Wilmington
    Highway Courtesans carries a feeling of truth, of bravely facing problems that are pressing and real. It's a good, informative piece on the oldest profession--and on how the world differs from what we usually see in the movies.
    • 31 Metascore
    • 63 Michael Wilmington
    By turns brilliant and simplistic, moving and preposterous, the movie takes one of the ultimate hot-button American issues -- the morality of capital punishment -- and dissolves it into a volatile mix of psychological thriller and socio-political fable.
    • 41 Metascore
    • 63 Michael Wilmington
    Despite the actors, the visuals and Forster's directorial swagger, the movie lacks impact.
    • 67 Metascore
    • 63 Michael Wilmington
    A blend of the classical and the trite, the beautiful and tawdry, the genuinely moving and the cornball. Oddly, producer-director-star Costner often can't seem to tell the difference.
    • 56 Metascore
    • 63 Michael Wilmington
    It suddenly morphs into one more overly slick, empty show.
    • 52 Metascore
    • 63 Michael Wilmington
    It's a real disappointment: too hasty, too scattered and superficial, and, in the end, disappointingly sappy and sentimental.
    • Chicago Tribune
    • 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.
    • 77 Metascore
    • 63 Michael Wilmington
    Notoriety, they won. The revolution, they didn't. That perhaps is the secret message of the film. Dylan was right. You don't need a weatherman to know which way the wind blows.
    • 63 Metascore
    • 63 Michael Wilmington
    It's worth seeing simply to make the acquaintance of Tobias, a really extraordinary old guy.
    • Chicago Tribune
    • 51 Metascore
    • 63 Michael Wilmington
    A paper-thin wish-fulfillment comedy about escaping small-town repressions and blasting conformity.
    • 58 Metascore
    • 63 Michael Wilmington
    Louiso has a confident touch and a good eye, and there isn't a scene in the film that wasn't intelligently done. Besides Hoffman's near-great performance as Joel, there isn't a bad or mediocre acting job on view either.
    • 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.
    • 62 Metascore
    • 63 Michael Wilmington
    Whimsy and wit are the saving graces of much British movie comedy, and Saving Grace has a decent measure of both.
    • 56 Metascore
    • 63 Michael Wilmington
    An epic unhinged, and while its best sections suggest a Loony Tune done by Sam Peckinpah and Emilio Fernandez, "Mexico" needs to be even crazier than it is.
    • 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.
    • 74 Metascore
    • 63 Michael Wilmington
    Code Unknown is a film you think more than feel. Though each scene is executed close to flawlessly, the cumulative effect is often oppressive. But at the center of the film -- the real reason it was made -- is Binoche, one of the genuinely radiant presences in movies today.
    • 63 Metascore
    • 63 Michael Wilmington
    A short film with a unique subject matter. But you won't soon forget its people, its places or its sad, surprising revelations about all the sexes.
    • 39 Metascore
    • 63 Michael Wilmington
    Campbell and her character are willing to take chances. But Toback's tangled noirish plot, with Vera as a post-feminist femme fatale, isn't particularly clever or original.
    • 35 Metascore
    • 63 Michael Wilmington
    Carpenter writes his own scripts -- here with past collaborator Larry Sulkis -- and their "Ghosts" screenplay lacks the density, character and humor of a Hollywood genre classic.
    • 52 Metascore
    • 63 Michael Wilmington
    Possession needs a sharp eye, a wicked tongue, less reverence and much more of its author's voice.
    • 54 Metascore
    • 63 Michael Wilmington
    The content may be dubious, but the execution is hypnotic.
    • 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.
    • 71 Metascore
    • 63 Michael Wilmington
    If you're in the mood for something strange, this film may please you, twice over.
    • 62 Metascore
    • 63 Michael Wilmington
    Just because it's true to life doesn't mean it can sing.
    • 73 Metascore
    • 63 Michael Wilmington
    The movie, like Smith, is breezy, fun and keeps comin' at ya. [22 Dec 2006, p.5]
    • Chicago Tribune
    • 53 Metascore
    • 63 Michael Wilmington
    Starts like a house afire and then suffers an imagination burnout.
    • 47 Metascore
    • 63 Michael Wilmington
    A smart, sprightly little movie with beguiling actors and few inhibitions. Though there's nothing startlingly new here, there's a freshness and vigor to the acting, and the crisscrossing love affairs hold your interest.
    • 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.
    • 48 Metascore
    • 63 Michael Wilmington
    Fairly entertaining and often exciting, expertly done in a way, but not especially engaging or new, and not as emotionally involving as its title suggests.
    • 62 Metascore
    • 63 Michael Wilmington
    Director Suri Krishnamma, depends on Finney for its power. His great performance carries the film over its shallow spots, its wish fulfillment, its pull toward caricature. [03 Feb 1995]
    • Chicago Tribune
    • 49 Metascore
    • 63 Michael Wilmington
    A movie of such cheerful craziness and nonstop ferocity that you can't take it seriously for a second.
    • 49 Metascore
    • 63 Michael Wilmington
    What pulls us along through the inky shoals of The Way of the Gun? Sheer style, plus the movie's refusal to play nice.
    • 58 Metascore
    • 63 Michael Wilmington
    Too loud, bright and shallow for its subject: a movie that pushes too many obvious buttons to build naturally to the big, heartbreaking climax it obviously wants.
    • 30 Metascore
    • 63 Michael Wilmington
    Never really feels right.
    • 31 Metascore
    • 63 Michael Wilmington
    A comedy of bad manners with many punchy moments and many irritatingly glib ones.
    • 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.
    • 59 Metascore
    • 63 Michael Wilmington
    But the film disappoints, partly because it inspires such large expectations.
    • 35 Metascore
    • 63 Michael Wilmington
    Most novels can't be encapsulated well enough in a conventional two-hour movie format, and Dreamcatcher may be one of them -- a miniseries gone wrong.
    • 51 Metascore
    • 63 Michael Wilmington
    What's wrong is the decision to let all the actors improvise their lines...At the end, Irreversible looks less like captured or even distorted life than an acting class.
    • 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.
    • 51 Metascore
    • 63 Michael Wilmington
    The movie -- even though it's based on real events -- seems unsatisfying and unconvincing.
    • Chicago Tribune
    • 38 Metascore
    • 63 Michael Wilmington
    Despite greater resources and high-tech whiz bang than the first movie, has a lot more turkey than dinner.
    • 53 Metascore
    • 63 Michael Wilmington
    It's a good film but an over-obvious one. I wish I'd liked it more.
    • Chicago Tribune
    • 46 Metascore
    • 63 Michael Wilmington
    Far too self-absorbed a picture.
    • 67 Metascore
    • 63 Michael Wilmington
    There's something in Shallow Grave that is admirable, beyond its obvious display of youthful talent. [24 Feb 1995]
    • Chicago Tribune
    • 62 Metascore
    • 63 Michael Wilmington
    It's a shapeless, derivative-but-funny show with another loony parody plot about super-villain Dr. Evil.
    • 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
    • 31 Metascore
    • 63 Michael Wilmington
    It's dispiriting to see Jolie wasting herself (and a good supporting cast) on a story that requires little more than an average pretty actress who can wear clothes well and laugh and cry on cue.
    • 70 Metascore
    • 63 Michael Wilmington
    As Almereyda unrolled his modern Gotham version, the story became gripping, the characters fascinating, the events mesmerizing, the resolution shocking and piteous.
    • Chicago Tribune
    • 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.
    • 49 Metascore
    • 63 Michael Wilmington
    As for Ramis, he's no Stanley Donen. He can make us laugh, but he can't make a movie dance.
    • Chicago Tribune
    • 60 Metascore
    • 63 Michael Wilmington
    Doesn't have the negative qualities of many big-studio romantic comedies, but it doesn't quite take flight.
    • Chicago Tribune
    • 47 Metascore
    • 63 Michael Wilmington
    Heartbreakers itself is something of a con game: an expensive imitation of older, better films from older, often better times.
    • Chicago Tribune
    • 72 Metascore
    • 63 Michael Wilmington
    Too expensive for its own good, too chic for comfort.
    • 32 Metascore
    • 63 Michael Wilmington
    Fghting your heart out at the end of this movie can't win the prize or the crowd.
    • 63 Metascore
    • 63 Michael Wilmington
    At least the movie Pirates of the Caribbean is fun -- but only as long as you don't expect much. Take it from me: The ride is better.
    • 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.
    • 54 Metascore
    • 63 Michael Wilmington
    A sometimes stirring, sometimes preposterous movie.
    • 47 Metascore
    • 63 Michael Wilmington
    Man on Fire, which starts off as a good example of super-glitz moviemaking, gradually turns into a movie on fire -- another helter-skelter, big-studio spending spree. Too bad. It could use a lot more of Walken, Fanning and some more honest drama.
    • 27 Metascore
    • 63 Michael Wilmington
    A real sentimental journey -- and luckily they've got both the right director (Darabont) and the right actor to squeeze our heartstrings.
    • Chicago Tribune
    • 47 Metascore
    • 63 Michael Wilmington
    This often entertaining movie mixes grand, epic effects and amazing visualizations of catastrophe with a sappy family-in-crisis plot that would look hackneyed in a '60s Disney TV movie.
    • 59 Metascore
    • 63 Michael Wilmington
    For my taste, too much of the new Powers looks like bad TV and sounds like old burlesque.
    • 50 Metascore
    • 63 Michael Wilmington
    It's stylish, it's sort of smart, it's full of misplaced talent. But it's not funny enough, and maybe, in a way, not dark enough either.
    • 63 Metascore
    • 63 Michael Wilmington
    It's a tribute to Penn's talent and guts that he manages to bring it off--even if the movie doesn't.
    • 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.
    • 64 Metascore
    • 63 Michael Wilmington
    A well-researched and well-illustrated, if often facetious, record of the U.S. government's longtime war on cannabis. And while it's a little too single-minded, it's both fun to watch and quite informative.
    • Chicago Tribune
    • 46 Metascore
    • 63 Michael Wilmington
    If its jolts were as strong as its chuckles, The Woman Chaser might really have turned into the cheap-thrill classic it pretends to be.
    • 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
    • 70 Metascore
    • 63 Michael Wilmington
    Girlfight, for its skill and theme, will please many. It's a shame it's no knockout.
    • Chicago Tribune
    • 54 Metascore
    • 63 Michael Wilmington
    No period of Italian history has produced more great movies than the WWII years . But, Malena romanticizes and even sentimentalizes those years.
    • Chicago Tribune
    • 50 Metascore
    • 63 Michael Wilmington
    Overall, The Brothers is glossy fun, but it should have given us more ideas and energy.
    • Chicago Tribune
    • 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.
    • 65 Metascore
    • 63 Michael Wilmington
    A classy but over-contrived topical thriller about bomb plots and anti-government groups.
    • 42 Metascore
    • 63 Michael Wilmington
    Has a remote feel. It sometimes impresses but never soars.
    • Chicago Tribune
    • 52 Metascore
    • 63 Michael Wilmington
    Strong, hard, dirty, funny, moving atmospheric and laced with scabrously musical street dialogue.
    • 59 Metascore
    • 63 Michael Wilmington
    The movie doesn't really jell. Glossy, good-looking and well-produced, it affects you and even sometimes moves you, but it doesn't really convincingly connect.
    • 38 Metascore
    • 63 Michael Wilmington
    The kind of movie that gives sequels a bad name, even though, strangely enough, it's better than the 1995 hit that spawned it.
    • 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.

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