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 Leopard (re-release)
Lowest review score: 0 Chaos
Score distribution:
1,276 movie reviews
    • 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.
    • 74 Metascore
    • 88 Michael Wilmington
    It's one of the most ferociously convincing physical re-creations of warfare ever put on screen.
    • 74 Metascore
    • 88 Michael Wilmington
    About the Israeli-Palestinian conflict, but it treats war as a cosmic joke and its participants as hapless but recognizably human clowns.
    • 74 Metascore
    • 88 Michael Wilmington
    A powerful symbolic drama.
    • 74 Metascore
    • 88 Michael Wilmington
    The power of art to redeem the pain and cruelty of life is demonstrated to enormous effect inShakespeare Behind Bars.
    • 74 Metascore
    • 75 Michael Wilmington
    Wrings honest emotion and riveting dramatics from its tale.
    • 74 Metascore
    • 88 Michael Wilmington
    A wonderful, heart-breaking movie.
    • 74 Metascore
    • 75 Michael Wilmington
    Good, expensive, easygoing fun. It's no masterpiece, but why should Soderbergh -- or anybody -- get three in a row?
    • 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.
    • 74 Metascore
    • 100 Michael Wilmington
    Whether Kundun is a perfect movie or not, it's an important and beautiful one. Scorsese's movie takes us into a world we've rarely seen with this kind of sympathy or detail: a magical-looking society built on Buddhism and centuries of art and tradition.
    • 74 Metascore
    • 88 Michael Wilmington
    An extraordinarily truthful and piercing drama.
    • 74 Metascore
    • 88 Michael Wilmington
    One of the more delightful and satisfying family movies.
    • 74 Metascore
    • 100 Michael Wilmington
    A film that sweeps us away into a world of spectacle, beauty and excitement, a realm of fantasy unimaginable without the movies.
    • 74 Metascore
    • 88 Michael Wilmington
    He (Puri) is one of the most consistently excellent film actors that his country - or the world - has produced. And East is East, a grand cultural hybrid, is a real movie, too - raw, funny and wonderfully mixed up.
    • Chicago Tribune
    • 74 Metascore
    • 100 Michael Wilmington
    Perhaps the most original movie fantasy creation of the year: an icon of tenderness and artistic alienation that clings, stickum-like, to your mind's eye and the softest, most woundable parts of your mass-culture heart. [7 Dec 1990, Calendar, p.F-1]
    • Los Angeles Times
    • 74 Metascore
    • 100 Michael Wilmington
    It's a movie of such jaw-dropping violence, wild improbability and dazzling style it overpowers all resistance.
    • 74 Metascore
    • 88 Michael Wilmington
    Called "Nuovomondo" in its native Italy, it's bittersweet, neither as comic and sentimental as Charlie Chaplin's 1917 great silent comedy "The Immigrant," nor as cynical and epic as Elia Kazan's 1963 "America, America," but close to both.
    • 74 Metascore
    • 88 Michael Wilmington
    The acting -- especially by Borrows, Ian Hart and Hackett -- is strong and transparent, utterly convincing. The whole movie has a seamless flow and an utterly convincing sense of time and place.
    • 74 Metascore
    • 75 Michael Wilmington
    Capable of enthralling.
    • 74 Metascore
    • 75 Michael Wilmington
    Elaborately mounted, expensively produced and filmed with style and empathy, it's an adaptation of Paterson's Newbery Medal-winning book that manages to expand the original vision, yet preserve much of its intense emotion.
    • 74 Metascore
    • 88 Michael Wilmington
    The kind of movie some audiences are starved for, a comedy with a human face, warmth and spirit.
    • Chicago Tribune
    • 74 Metascore
    • 100 Michael Wilmington
    Both the movie and Denzel Washington are knockouts.
    • Chicago Tribune
    • 74 Metascore
    • 88 Michael Wilmington
    Though "Keys" is not Amelio's best, it has an emotional power almost equal to anything he's done.
    • 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
    • 74 Metascore
    • 88 Michael Wilmington
    Sin City is an evil place, full of awful people, an obsessive movie full of monomaniacal tough guys. Yet when Miller and Rodriguez move it into gear, noir lives.
    • 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.
    • 74 Metascore
    • 88 Michael Wilmington
    The beauties of Shower lie in its human observation, in its funny interplay, candor, lusty acting and hearty simplicity - and also in its warm imagery and the fascinating symbolic use it makes of water.
    • 73 Metascore
    • 88 Michael Wilmington
    An adventure movie of extraordinary simplicity and power.
    • Chicago Tribune
    • 73 Metascore
    • 75 Michael Wilmington
    A clever, amiably low-key mix of family drama and romantic comedy.[18 August 1995, Friday, p.C]
    • Chicago Tribune
    • 73 Metascore
    • 50 Michael Wilmington
    Boyle's new movie is mostly a zombie fiasco, closer to the vacuities of "The Beach" than the scintillating social satire of "Trainspotting."
    • 73 Metascore
    • 88 Michael Wilmington
    A movie with surprises, some of which you should discover for yourself. But its main surprises may be the power of Collette's performance and the beautifully controlled mood and atmosphere Brooks creates.
    • 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.
    • 73 Metascore
    • 88 Michael Wilmington
    It's one of the most faithful movie adaptations of any Dick story to date, and it comes from the scariest of all his books, as well as the truest.
    • 73 Metascore
    • 100 Michael Wilmington
    It's so thoroughly engaging, so beautifully made, strikingly shot and chock-full of humor and humanity, I can't imagine any intelligent audience not falling in love with it - if only they take the leap of faith to see it.
    • 73 Metascore
    • 88 Michael Wilmington
    Intoxicatingly well-crafted entertainment about hunting down your enemy.
    • 73 Metascore
    • 50 Michael Wilmington
    A light, breezy, often charming little film, with a good cast playing mostly shallow characters.
    • Chicago Tribune
    • 73 Metascore
    • 88 Michael Wilmington
    A spellbinding piece of Japanese anime from one of the form's new masters, director-writer Satoshi Kon.
    • 73 Metascore
    • 100 Michael Wilmington
    Like all the Coens' movies, "Man" is supremely self-aware and darkly, hellishly funny. It's also brilliantly written and acted to a fare-thee-well by an outrageously good cast.
    • 73 Metascore
    • 88 Michael Wilmington
    Close to perfect example of an expertly designed and executed thriller.
    • 73 Metascore
    • 88 Michael Wilmington
    It's a terrific, kinetic experience, and it's also a brilliant showcase for a crackerjack ensemble of great actors.
    • 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.
    • 73 Metascore
    • 63 Michael Wilmington
    The movie, like Smith, is breezy, fun and keeps comin' at ya. [22 Dec 2006, p.5]
    • Chicago Tribune
    • 73 Metascore
    • 88 Michael Wilmington
    Lovely, heart-stirring film.
    • 73 Metascore
    • 88 Michael Wilmington
    Children and animals, if they're handled right, can be among the great natural movie actors, and in The Cave of the Yellow Dog, writer-director Byambasuren Davaa handles her cast of youngsters and creatures (and a few adults) heartwarmingly well.
    • 73 Metascore
    • 88 Michael Wilmington
    The movie itself is as slick, fast and terrifyingly violent as a top-grade American crime thriller, but a lot smarter than most.
    • 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.
    • 73 Metascore
    • 100 Michael Wilmington
    You can't praise highly enough the contributions of the ensemble--De Niro and Pesci especially--but it's Scorsese's triumph. [22 November 1995, Tempo, p.1]
    • Chicago Tribune
    • 73 Metascore
    • 100 Michael Wilmington
    Astonishing, crazily delightful.
    • 73 Metascore
    • 75 Michael Wilmington
    A highly provocative documentary.
    • 73 Metascore
    • 100 Michael Wilmington
    The third film, After the Life, much like "On the Run," mixes a hard-edged, relentless and stripped-down crime tale with a compassionate overview.
    • 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.
    • 73 Metascore
    • 75 Michael Wilmington
    As solid as the earth, rich as a good meal and sometimes funny as hell.
    • 73 Metascore
    • 100 Michael Wilmington
    A beautiful and genuinely spirit-lifting film about poverty and education.
    • 73 Metascore
    • 88 Michael Wilmington
    An often-wondrous comedy, just as rich and surprising as "L.A. Confidential" but considerably less dark.
    • 73 Metascore
    • 88 Michael Wilmington
    Ends up working like a charm.
    • 73 Metascore
    • 75 Michael Wilmington
    It's good stuff: a non-fiction film on weighty issues that also manages to entertain.
    • 73 Metascore
    • 75 Michael Wilmington
    Pictorially sumptuous and sexually provocative.
    • 73 Metascore
    • 100 Michael Wilmington
    Moretti gives us something different but very important. He shows us how life goes on.
    • 73 Metascore
    • 88 Michael Wilmington
    What really makes Alias Betty stand out, even from good recent French ensemble films like "Eight Women" and "Venus Beauty Institute," is that ingenious, Rendell-derived story. To kidnap an old phrase, it's a corker.
    • 73 Metascore
    • 100 Michael Wilmington
    Takes the raw truth and makes it jubilantly, terrifically entertaining.
    • Chicago Tribune
    • 73 Metascore
    • 88 Michael Wilmington
    A funny valentine by an old master, woos us into the dance.
    • 73 Metascore
    • 100 Michael Wilmington
    Ray
    A fit tribute to an entertainer who, no matter what hate or hardship threw in his way or how many mistakes he made, we can't stop loving.
    • 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
    • 88 Michael Wilmington
    A beautiful, almost defiant film on an unusual subject: love among the elderly.
    • Chicago Tribune
    • 73 Metascore
    • 100 Michael Wilmington
    This is a movie for all cultures and all people, for families and especially for those who have lost them.
    • 73 Metascore
    • 88 Michael Wilmington
    Rivets and amazes, even if it falls just frustratingly short of the mind-expanding grandeur it could have had.
    • 73 Metascore
    • 100 Michael Wilmington
    This remarkable movie is really one-of-a-kind. [15 Dec 1995]
    • Chicago Tribune
    • 72 Metascore
    • 88 Michael Wilmington
    It's a genteel film with a gun in its pocket, but it's also a film with a universal chord of feeling that keeps welling up from the dark surfaces and violent byways of the plot-and a final confession that both warms the heart and chills the blood.
    • 72 Metascore
    • 88 Michael Wilmington
    So troubling and unflinchingly honest that watching it becomes a test of empathy and compassion.
    • 72 Metascore
    • 100 Michael Wilmington
    Viveka Seldahl and Sven Wollter will touch you to the core in a film you will never forget -- that you should never forget.
    • 72 Metascore
    • 88 Michael Wilmington
    A vivifying film, though it's done in such a strange style that it takes a while to get used to it.
    • 72 Metascore
    • 100 Michael Wilmington
    A peach of a story delightfully imagined by Dahl and lushly realized by Burton. It's full of witty or awesome scenes, flights of fancy and characters either totally, lovably sweet or outrageously, humorously rotten.
    • 72 Metascore
    • 100 Michael Wilmington
    Moore's best movie, and one of the most blisteringly effective polemics and documentaries ever.
    • 72 Metascore
    • 88 Michael Wilmington
    The acting in All or Nothing is superb. Everyone creates a character we can immediately register and recognize as true.
    • 72 Metascore
    • 100 Michael Wilmington
    A grand ride. Sleek, beautiful and packed with emotion, not too flashy but full of heart, this is a movie worthy of its unlikely yet glorious subject: Depression-era America's best-loved racehorse and the two races that made him a legend.
    • 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.
    • 72 Metascore
    • 80 Michael Wilmington
    We don't make those kind of Lubitsch-Wilder-Capra movies anymore, because it's hard to kid about what goes on behind bedroom walls when the bedroom doors have long since been flung open. So Ephron invents strategies to keep us, teased, outside the boudoir. [25 Jun 1993 Pg.F1]
    • Los Angeles Times
    • 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.
    • 72 Metascore
    • 100 Michael Wilmington
    A magnificent throwback to an almost vanished era of epic filmmaking by great filmmakers in thrall to their own passions, rather than to the studio bookkeepers.
    • 72 Metascore
    • 100 Michael Wilmington
    A rare example of a literary film that preserves the best of its source while creatively filling up on it.
    • Chicago Tribune
    • 72 Metascore
    • 88 Michael Wilmington
    It's a simple story with complex reverberations and undercurrents, as secrets keep being revealed.
    • 72 Metascore
    • 88 Michael Wilmington
    A lovely film with a deeply humane perspective.
    • 72 Metascore
    • 88 Michael Wilmington
    Though the role might seem a real stretch for an actor who just won an Oscar for his Charlton Heston turn as Maximus in "Gladiator," he and the movie ace the test.
    • 72 Metascore
    • 63 Michael Wilmington
    Melodrama triumphs. But here's at least some muted applause for a fine cast and filmmakers trying to confront the real world and its shadows.
    • 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.
    • 72 Metascore
    • 63 Michael Wilmington
    Too expensive for its own good, too chic for comfort.
    • 72 Metascore
    • 88 Michael Wilmington
    Thanks to Echer, Nettelbeck and this delicious movie, I was able to hear "Country" and the other Jarrett tunes in scene after scene - heightening moods, lyricizing action and making Hamburg seem like a wintry love song. Predictable or not, that's often as good as it gets.
    • 72 Metascore
    • 88 Michael Wilmington
    A highly exciting, visually alive thriller.
    • 72 Metascore
    • 88 Michael Wilmington
    Has the resonance, eloquence and formal rigor of a piece of great literature.
    • 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.
    • 71 Metascore
    • 100 Michael Wilmington
    Romero's newest is a horror movie for hard-core fans of the gory and the gruesome and a classic genre film for genre aficionados.
    • 71 Metascore
    • 88 Michael Wilmington
    One of the best realistic dramas of the year.
    • 71 Metascore
    • 75 Michael Wilmington
    A realistic drama about life's uncertainties.
    • 71 Metascore
    • 75 Michael Wilmington
    One of the best and funniest things that Martin, as writer and actor, has ever done.
    • 71 Metascore
    • 75 Michael Wilmington
    There's a shallowness about The Good Girl that can't always be excused as an accurate portrayal of a shallow milieu -- in the end, just like Justine, it's not as good as it could have been.
    • 71 Metascore
    • 88 Michael Wilmington
    Elegant, cheerfully cynical fun of the kind we used to get regularly from Billy Wilder, Howard Hawks and other masters of the classic Hollywood screwball comedy -- all those '30s-'40s movies about rich people sloshed, or acting crazy and running romantically amok.
    • 71 Metascore
    • 88 Michael Wilmington
    Such a triumph of simplicity, subtlety and tact--and of the eroticism in words, looks and glances--that the actors ravish us with sheer talent and intelligence.
    • 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.
    • 71 Metascore
    • 88 Michael Wilmington
    The Crow imbues its comic brutalism with emotion and satire. Too raw and pulpy, it probably shouldn't be regarded as a memorial to Brandon Lee. But as an obsessive rock 'n' roll comic book movie shocker of loony intensity, it stands, or flies, by itself.
    • 71 Metascore
    • 75 Michael Wilmington
    A work both rigorously stylized and deeply personal. Devotees of Kitano and Japanese cinema will admire Dolls.

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