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 Ray
Lowest review score: 0 Chaos
Score distribution:
1,276 movie reviews
    • 64 Metascore
    • 75 Michael Wilmington
    A tender, visually stunning comedy-drama.
    • 64 Metascore
    • 75 Michael Wilmington
    A slick, bloody thriller, but it's also, to its credit, a genuine whodunit.
    • 64 Metascore
    • 63 Michael Wilmington
    A second-rate nightmare: the Reagan generation meets Leatherhead with flickers of brilliance drowned in blood and snobbery, a corpse dressed by Bloomingdale's.
    • Chicago Tribune
    • 64 Metascore
    • 88 Michael Wilmington
    Has the kind of super-cinematic qualities and bravura acting that make up for almost anything.
    • Chicago Tribune
    • 64 Metascore
    • 88 Michael Wilmington
    It's not often that you see the craft of cinema so perfectly executed--or a group of fancy scoundrels so ruthlessly caught and skewered. Comedy of Power, like all of Chabrol's Hitchcockian films, is dark, smart and delicious.
    • 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.
    • 64 Metascore
    • 63 Michael Wilmington
    There's something too slickly contrived and hollow about this film. It's a yuppified wish-fulfillment piece dangling between real world and fairy tale, and it's mostly the actors --especially Lindsay and Elaine Hendrix (as the conniving publicist who is trying to marry Hallie and Annie's dad) -- who manage to bring it off. [29 July 1998]
    • Chicago Tribune
    • 64 Metascore
    • 63 Michael Wilmington
    A promising film rather than a fully realized one.
    • 64 Metascore
    • 75 Michael Wilmington
    It's a fervent, topical political drama of extraordinary impact and ferocity.
    • 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.
    • 64 Metascore
    • 100 Michael Wilmington
    It's tantalizing, delectable and randy, a movie of melting eroticism and toothsome humor.
    • Chicago Tribune
    • 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
    • 64 Metascore
    • 63 Michael Wilmington
    Cradle Will Rock is the masterpiece that wasn't, a magnificent opportunity blown to hell.
    • Chicago Tribune
    • 64 Metascore
    • 38 Michael Wilmington
    Superhero comic book movie with a script so feeble it might have been written with crayons.
    • 64 Metascore
    • 88 Michael Wilmington
    A brilliant, giddy satiric romp with a discreetly moralistic viewpoint beneath its high-style wit.
    • 64 Metascore
    • 88 Michael Wilmington
    A rich, shining valentine to the British theater and the eternal joys of Shakespeare,
    • 64 Metascore
    • 88 Michael Wilmington
    This magnificent pair are the heart of Techine's film, and the sense of frayed, aging beauty and handsomeness they now carry helps project the picture's main theme: the imperishability of true love.
    • 64 Metascore
    • 88 Michael Wilmington
    A visually sumptuous, bullet-train-paced thriller with a really provocative theme.
    • 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.
    • 64 Metascore
    • 88 Michael Wilmington
    A violent, improbable movie done in tersely elegant style, and it may be the last action movie for one of the cinema's great action stars, Clint Eastwood.
    • 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.
    • 63 Metascore
    • 63 Michael Wilmington
    It's worth seeing simply to make the acquaintance of Tobias, a really extraordinary old guy.
    • Chicago Tribune
    • 63 Metascore
    • 88 Michael Wilmington
    All the accolades Lyne got for "Fatal Attraction" -- and didn't really merit -- he deserves here.
    • 63 Metascore
    • 38 Michael Wilmington
    Though I would agree it's original -- it's the first aboveground romance movie I've seen in which the heroine is repeatedly spanked, verbally tormented and tied to a chair by her lover--- it's not an experience I much enjoyed.
    • 63 Metascore
    • 63 Michael Wilmington
    Though I wouldn't call He Loves Me a total success, it's smart, intriguing and quite ambitious, a first film by a talented young filmmaker that displays superstar Tautou's gifts in an eerie new light.
    • 63 Metascore
    • 50 Michael Wilmington
    Fessenden cooks up a likably offbeat horror movie. But somehow, it never jells, never really scares us.
    • 63 Metascore
    • 88 Michael Wilmington
    It's a twisty, hell-for-leather crime thriller, and director Carl Franklin gives it all the slick, modern trimmings.
    • 63 Metascore
    • 63 Michael Wilmington
    As a whole, though, the movie is much less magnetic or believable than its star.
    • 63 Metascore
    • 88 Michael Wilmington
    A gargantuan epic, a historical adventure-drama of overwhelming visual grandeur.
    • 63 Metascore
    • 50 Michael Wilmington
    A tasteful, intelligent, well-acted film about one of the most ghoulish serial killers in American crime history - and I'm afraid that's a good part of what's wrong with it.
    • 63 Metascore
    • 75 Michael Wilmington
    Director Lee has a true cinematic knack, but it's also nice to see a movie with its heart so thoroughly, unabashedly on its sleeve.
    • 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.
    • 63 Metascore
    • 50 Michael Wilmington
    In a weird way, what happens to the kids is what happens to the movie. The humans shrivel to crawling piffles or get deformed into caterwauling robots; the super-tall grass and the giant cookies and insects take over.
    • 63 Metascore
    • 63 Michael Wilmington
    The movie may lack a lot of things, but it doesn't lack comic timing--or, in its own way, a nose for the news.
    • 63 Metascore
    • 75 Michael Wilmington
    The movie itself, defying all odds, comes close to a knockout.
    • 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.
    • 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.
    • 63 Metascore
    • 88 Michael Wilmington
    For anyone who likes classic, offbeat American moviemaking, in the rural-thriller genre from "Moonrise" to "Macon County Jail," Undertow is one to check. Seething with violence, bleeding with lyricism, it's a poem from the junk heap, a cry from the swamp.
    • 63 Metascore
    • 88 Michael Wilmington
    Just as Zhao uses his comic gifts to create an affecting human, so Dong's performance as Wu is a triumph of honesty and tact.
    • 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.
    • 63 Metascore
    • 50 Michael Wilmington
    Spectacular, fast, never boring. But it's also one of the more disappointing movies I've seen recently.
    • 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.
    • 63 Metascore
    • 50 Michael Wilmington
    It's a bizarre but engaging fling.
    • 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
    • 63 Metascore
    • 60 Michael Wilmington
    Midway through The Lost Boys there's a brief scene that suggests the magic and power it could have had. This scene suggests a fable of seductive evil-but nothing in the movie is ever half as evocative again. It's more lost than the Boys: a glossy fiasco with most of the real blood sucked out of it.
    • Los Angeles Times
    • 62 Metascore
    • 63 Michael Wilmington
    Just because it's true to life doesn't mean it can sing.
    • 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.
    • 62 Metascore
    • 50 Michael Wilmington
    For all its glitz and gadgets, is markedly inferior in everything but teen appeal.
    • 62 Metascore
    • 100 Michael Wilmington
    Like most Godard, it can be watched repeatedly, always yielding new secrets and beauties. Most profound of all, perhaps, are those incredible black-and-white images of Paris.
    • 62 Metascore
    • 75 Michael Wilmington
    Corny as it may sound though, it's all true-except, of course, for that mythical movie last-second championship bit.
    • 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.
    • 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
    • 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."
    • 62 Metascore
    • 63 Michael Wilmington
    It's a shapeless, derivative-but-funny show with another loony parody plot about super-villain Dr. Evil.
    • 62 Metascore
    • 80 Michael Wilmington
    It's one hell of a ride and a real, roaring rock movie. [01 Mar 1991]
    • Los Angeles Times
    • 62 Metascore
    • 88 Michael Wilmington
    You could say that Seraphim Falls, was no better than the typical Westerns of the 1950s and '60s--which I think underrates it. But those typical Westerns were pretty darn good, and so is Seraphim Falls.
    • 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
    • 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.
    • 62 Metascore
    • 88 Michael Wilmington
    Ablaze with poetry and danger, and suffused with an odd kind of intellectual kitsch.
    • 62 Metascore
    • 75 Michael Wilmington
    5x2
    When you piece it all together, it becomes mildly fascinating.
    • 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
    • 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.
    • 62 Metascore
    • 75 Michael Wilmington
    Bug
    Ashley Judd as Agnes White, and a relative newcomer, the remarkable Michael Shannon, as Peter Evans. They're both spellbinding.
    • 62 Metascore
    • 75 Michael Wilmington
    On a direct line with the whimsical small-town comedies of the '40s and '50s.
    • 62 Metascore
    • 75 Michael Wilmington
    A fairy tale comedy with the Holocaust as the background, a collision of terror and community, death and beauty.
    • 62 Metascore
    • 75 Michael Wilmington
    This toweringly ambitious picture confronts a brilliant director, Atom Egoyan, with a major historical event and a profound theme.
    • 62 Metascore
    • 50 Michael Wilmington
    A comedy that seems to have most everything going for it but the ability to make us laugh.
    • 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.
    • 62 Metascore
    • 88 Michael Wilmington
    As beautifully designed, swift and sleek as a classic sports car, throbbing with emotion and intelligence, it's a neat suspense film that's also dramatically and sociologically potent, with two supremely talented stars, Nicole Kidman and Sean Penn, delivering beyond the emotional call of duty.
    • 61 Metascore
    • 88 Michael Wilmington
    (The film is) one of the most anguished, intense and weirdly brilliant of the year.
    • Chicago Tribune
    • 61 Metascore
    • 88 Michael Wilmington
    An often brilliant, always revelatory, deeply interesting omnibus film.
    • 61 Metascore
    • 75 Michael Wilmington
    When it enters the future, it's a new-fangled, old-fashioned jim-dandy of a show.
    • 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
    • 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.
    • 61 Metascore
    • 88 Michael Wilmington
    Mamet is a writer who turns off some audiences, and almost everything that might bother them is in Edmond: foul language, raging machismo, violence and seemingly bigoted tirades. But almost everything audiences like about him is there too: candor, suspense, ideas, crackling slang, vivid characters.
    • 61 Metascore
    • 50 Michael Wilmington
    This seems to be a movie made by people who love the old classic movie swashbucklers but don't have a clue how to make or modernize them.
    • 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
    • 61 Metascore
    • 75 Michael Wilmington
    Reign works better much better than "Upside" because of the cast and because Sandler and Cheadle together keep it lighter. It's an easy film to watch, but less easy to be moved by.
    • 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
    • 61 Metascore
    • 50 Michael Wilmington
    This one's worth the ticket price only if you are a showbiz-aholic.
    • Chicago Tribune
    • 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
    • 61 Metascore
    • 63 Michael Wilmington
    The whole film, in fact, seems too fast for its own good. It plays like a synopsis, jumping from scene to scene, grief to grief, and it doesn't let us relax into the various worlds it's creating.
    • 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.
    • 61 Metascore
    • 100 Michael Wilmington
    Bravo!
    • 61 Metascore
    • 88 Michael Wilmington
    A rarity -- an intelligent and moving drama of ideas that becomes increasingly thrilling as the ideas unfold.
    • 61 Metascore
    • 88 Michael Wilmington
    The film seems a mad mix of staid PBS bio-drama, flamboyant musical comedy and surreal cartoon nightmare.
    • 61 Metascore
    • 88 Michael Wilmington
    Watching this movie has an almost hypnotic effect, like being carried along on a river past terrains both familiar and inexplicably, maddeningly odd.
    • 61 Metascore
    • 88 Michael Wilmington
    In The Weather Man, Nicolas Cage, a great oddball movie star who sometimes takes enormous risks, has a good, risky part again.
    • 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
    • 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.
    • 61 Metascore
    • 75 Michael Wilmington
    Has great themes and great actors.
    • Chicago Tribune
    • 61 Metascore
    • 75 Michael Wilmington
    A gripping, very intelligent British thriller. Slowly, inexorably, it ties you in knots.
    • 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.
    • 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
    • 61 Metascore
    • 75 Michael Wilmington
    A wry romantic comedy set among Bruno's targets, the Grenoble bourgeois.
    • 61 Metascore
    • 75 Michael Wilmington
    An inspirational movie about a inspiring figure: Emmanuel Ofosu Yeboah of Ghana.
    • 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."
    • 60 Metascore
    • 75 Michael Wilmington
    A simple, eloquent drama.
    • 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.
    • 60 Metascore
    • 88 Michael Wilmington
    It's hard to watch and listen to Together without, in some sense, having your heart lifted by its music.
    • 60 Metascore
    • 88 Michael Wilmington
    It's a very classy, finely made film, and, as one watches it -- particularly those last sweeping scenes of political turbulence and escape -- one feels both pain at their (Merchant-Ivory) parting and grateful for what, together, they achieved.
    • 60 Metascore
    • 75 Michael Wilmington
    A gloriously giddy movie about theater, love and artifice, an unabashed art film.
    • 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.
    • 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
    • 60 Metascore
    • 90 Michael Wilmington
    Though definitely one of the best American movies of the year--a work of high ensemble talent and intelligence, gorgeously mounted and crafted, artistically audacious in ways that most American movies don't even attempt--it's still a disappointment… It's not the capstone we might have wanted Coppola to make. [23 Dec 1990, Calendar, p.9]
    • Los Angeles Times
    • 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
    • 60 Metascore
    • 50 Michael Wilmington
    Slickly produced, well cast and very excitingly made, it's based on plot hooks so silly, most of them blow up in your face.
    • 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.
    • 60 Metascore
    • 50 Michael Wilmington
    Beyond some well-observed sibling interaction, the mutual effort of four writers is mutually uninspired. Whoever wrote the episodes between hot-to-trot Jojo (Taylor) and her balky boyfriend Bill (D'Onofrio) should be ashamed. [21 Oct 1988]
    • Los Angeles Times
    • 60 Metascore
    • 75 Michael Wilmington
    The picture is written and acted as a lark and a romp.
    • 60 Metascore
    • 75 Michael Wilmington
    It's the kind of copycat movie that becomes original through its cast and treatment.
    • 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.
    • 59 Metascore
    • 75 Michael Wilmington
    Though not as good or as massively innovative as its predecessor, is still a mountainous undertaking.
    • Chicago Tribune
    • 59 Metascore
    • 75 Michael Wilmington
    Unabashedly designed to blow its audience away.
    • 59 Metascore
    • 50 Michael Wilmington
    By creating a kind of politically correct version of Andy Griffith's "Mayberry," director Bezucha has drained the movie not only of bigotry but also of dramatic conflict.
    • Chicago Tribune
    • 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.
    • 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.
    • 59 Metascore
    • 50 Michael Wilmington
    The sense of the unknown that "Padgett" created are largely absent. And the movie fails to supply us with an antagonist to work up some dramatic conflict. Nor are the toys themselves very interesting and Mimzy is a toy bunny of no distinction.
    • 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
    • 59 Metascore
    • 75 Michael Wilmington
    Copying Beethoven, at its best, is a sort of grand cinema opera of the composer's life and music.
    • 59 Metascore
    • 63 Michael Wilmington
    The film is De Palma's tribute to film noir, to Paris and to the cinema itself.
    • 59 Metascore
    • 88 Michael Wilmington
    These are real characters, fully observed, gutsily written, beautifully acted by the two leads.
    • 59 Metascore
    • 75 Michael Wilmington
    The movie is funny, but it's also touching and poetic -- and Bertin's scenes are devastating.
    • 59 Metascore
    • 63 Michael Wilmington
    But the film disappoints, partly because it inspires such large expectations.
    • 59 Metascore
    • 88 Michael Wilmington
    It's an intelligent and informed look at the preposterous ways our leaders are often picked and sabotaged.
    • Chicago Tribune
    • 59 Metascore
    • 50 Michael Wilmington
    Although Alien 3 is stylish--and ambitious--the movie doesn't have the soul or guts to sustain that ambition. It gets swallowed up in its own technology and genre expectations. And Fincher gets stalled in the drama, trapped in too many scenes of talking heads looming out of the gloom.
    • 59 Metascore
    • 75 Michael Wilmington
    It's an almost overwhelmingly professional picture, murderously fast, slick and full of outlandish notions, painstakingly realized. And it's also surprisingly satisfying -- thanks to Washington, a good cast, Tony Scott's swift direction and that unyielding professionalism.
    • 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.
    • 59 Metascore
    • 63 Michael Wilmington
    For my taste, too much of the new Powers looks like bad TV and sounds like old burlesque.
    • 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.
    • 59 Metascore
    • 75 Michael Wilmington
    Witherspoon goes further, pouring so much humor and pizzazz into Elle that she lifts up the whole movie.
    • 59 Metascore
    • 100 Michael Wilmington
    A deeply moving blend of cold terror and rapturous hilarity. Lovingly crafted by Italy's top comedian and most popular filmmaker, it's that rare comedy that takes on a daring and ambitious subject and proves worthy of it.
    • 59 Metascore
    • 75 Michael Wilmington
    Though Day Watch seems less shocking and overwhelmingly strange than "Night Watch," it's another rocking mix of gritty thriller and glitzy sci-fi, once again in the vein of the director Bekmambetov's idols Quentin Tarantino and the Wachowski brothers.
    • 59 Metascore
    • 88 Michael Wilmington
    A romance incandescent, a fiery pageant of l'amour fou. Whatever its historical transgressions, it opens up a vein and lets life and blood pour out.
    • 59 Metascore
    • 63 Michael Wilmington
    This time around, the razors are a little duller, the clicks not as slick, the patter not as snappy.
    • 59 Metascore
    • 75 Michael Wilmington
    It's a high-tech thriller that really works.
    • 59 Metascore
    • 75 Michael Wilmington
    There's the script -- and that's the problem.
    • 59 Metascore
    • 88 Michael Wilmington
    Miller's quiet artistry is at its peak, and though "Lili" is not as subtle, profound or moving a work as Chekhov's play, it's an intelligent, first-rate piece of cinema.
    • 59 Metascore
    • 63 Michael Wilmington
    Despite Fiennes' splendid moodiness and Tyler's radiant vulnerability, despite lovely settings... this movie is dull.
    • 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.
    • 59 Metascore
    • 50 Michael Wilmington
    It's a harmless enough movie, and quite a good-looking one; Bettany and Dunst are an attractive enough couple, even if Lizzie has been written as a selfish little snip and he as a whining man-child.
    • 58 Metascore
    • 88 Michael Wilmington
    A contemporary Russian movie that you could honestly call revolutionary, more for its style than its politics.
    • 58 Metascore
    • 75 Michael Wilmington
    The artifice may be ancient, but the thought and emotions -- and especially Sorvino -- are beautifully, refreshingly modern.
    • 58 Metascore
    • 50 Michael Wilmington
    The movie, like Hitch, tries to be cool, funny and sweet but falls on its face without generating any real sympathy, smarts or humor.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 38 Michael Wilmington
    Despite a big budget, lots of technical flair and a good cast headed by Sarah Polley and Ving Rhames, it's mostly a bloody mess.
    • 58 Metascore
    • 75 Michael Wilmington
    This "Ice Age" is still a good movie (especially for kids) with top-of-the-tech CGI.
    • 58 Metascore
    • 63 Michael Wilmington
    There are better holocaust dramas than Grey Zone -- "Schindler's List" for one, and due later this year, Roman Polanski's magnificent "The Pianist." But few will disturb you like The Grey Zone -- mostly because it won't try for tears.
    • 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.
    • 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.
    • 58 Metascore
    • 63 Michael Wilmington
    It's not that the movie is bad; it's merely uninspired and relatively clueless about Kaufman.
    • 58 Metascore
    • 88 Michael Wilmington
    A word of warning. Big Fish is so strange and so literary that audiences seeking conventional fare may get impatient with it. But it always takes effort to catch the big ones. This one is worth it.
    • 58 Metascore
    • 63 Michael Wilmington
    An offbeat, poetic piece that eschews the terse, hard-boiled style of the standard cop movie or TV show for something softer-centered and more nakedly emotional.
    • 58 Metascore
    • 50 Michael Wilmington
    I found nothing likable or funny about either of these characters, who both deserve a pie in the face. (One of them even gets it.)
    • 58 Metascore
    • 75 Michael Wilmington
    The sort of movie that both rewards and tries your patience.
    • Chicago Tribune
    • 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.
    • 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.
    • 58 Metascore
    • 75 Michael Wilmington
    There's no denying that Undisputed delivers the action-movie goods, and so do Snipes and Rhames. It should have been more memorable, but at least it doesn't stumble in the ring.
    • 58 Metascore
    • 63 Michael Wilmington
    Likable as it is, suffers from that modern big-movie vice: overkill.
    • 58 Metascore
    • 75 Michael Wilmington
    The movie's great end-title sequence redeems everything. Under the credits, we see and hear the real-life game veterans as they are now--including, movingly, ex-Lakers coach Riley.
    • 58 Metascore
    • 75 Michael Wilmington
    Shines whenever we see the performances of Phoenix and Caan.
    • 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.
    • 57 Metascore
    • 88 Michael Wilmington
    As much fun as anything director/co-writer Jane Campion has ever filmed. Holy Smoke lets it all hang out.
    • Chicago Tribune
    • 57 Metascore
    • 88 Michael Wilmington
    The movie, done in a classic measured style, finally moves you almost as much as if it had stayed in Kurosawa's hands. Filled with love and melancholy, it's a fitting, fond epilogue to the "sensei" (the master).
    • 57 Metascore
    • 50 Michael Wilmington
    A modernized version of that great sentimental horse movie, 1943's "My Friend Flicka," and it comes with the shiny trappings, high professionalism and glamorous accessories you might expect...Something is missing though.
    • 57 Metascore
    • 50 Michael Wilmington
    It's a nice little film, likable but not exceptional, and it will probably appeal most strongly to actors, would be-actors, wannabes and ex-actors.
    • Chicago Tribune
    • 57 Metascore
    • 100 Michael Wilmington
    Kansas City is a wonderful film, done with all Altman's offbeat virtuosity, maverick humor and creative daring -- plus the acid nip that runs through all his recent works.
    • 57 Metascore
    • 75 Michael Wilmington
    A breezy, elegant charmer of a movie.
    • Chicago Tribune
    • 57 Metascore
    • 80 Michael Wilmington
    If the movie sometimes seems overwhelmed by its budget and its legendary third-act problems, it's still entertainingly raw and brutal, full of whiplash pace and juicy exaggeration. [1 June 1990, Calendar, p.F-1]
    • Los Angeles Times
    • 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.
    • 57 Metascore
    • 88 Michael Wilmington
    The Human Stain has those qualities we often want but rarely see in our films: intelligence and ambition, decency and humanity, poetry and pity, fire and ice. Watch it and weep.
    • 57 Metascore
    • 75 Michael Wilmington
    At once proudly conservative, passionately idealistic and beautifully assured.
    • 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.
    • 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
    • 57 Metascore
    • 63 Michael Wilmington
    Completely successful or not, films like Saudade do Futuro are needed. And we need people like the Nordestinos.
    • 57 Metascore
    • 50 Michael Wilmington
    The results aren't gothic and bloody, as they were in the Lauren Bacall film "The Fan," or elegant and ironic as in the Bette Davis classic "All About Eve"--though the plot suggests a bit of both.
    • 57 Metascore
    • 75 Michael Wilmington
    It's a corker of a story - a polished yarn full of desire, desperation and despair.
    • 57 Metascore
    • 63 Michael Wilmington
    It's a movie that starts off nicely, offers two marvelous performances (by James Coburn and Mick Jagger) and then slowly, unaccountably loses itself.
    • 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
    • 57 Metascore
    • 75 Michael Wilmington
    A romantic comedy/social satire that, on a modest budget, manages to be hip, charming, funny and dressed to kill.
    • 57 Metascore
    • 88 Michael Wilmington
    For any of you who've ever daydreamed of playing hoops with Jordan, Michael Jordan to the Max is almost certainly the closest you'll ever get.
    • 57 Metascore
    • 75 Michael Wilmington
    The film, like its lovers, is fond, giddy and poetic about love and death.
    • 57 Metascore
    • 63 Michael Wilmington
    As is often the case in Loach's films, all the acting is exemplary. Padilla, who learned English only shortly before making the film, is a natural actress, a smoldering presence.
    • Chicago Tribune
    • 57 Metascore
    • 88 Michael Wilmington
    The movie looks like far more than a million dollars and it offers the kind of smart, picaresque good time you get from books like "The Reivers" and "Huckleberry Finn" and movies like "Bronco Billy" and "Bonnie and Clyde."
    • 57 Metascore
    • 88 Michael Wilmington
    Hallstrom gives us a genial interpretation and a supremely good-humored film.
    • 57 Metascore
    • 50 Michael Wilmington
    Weighed down by the presence of Griffith. She plays her satiric part without much gusto or conviction - as if she were afraid we might believe she really is Honey.
    • Chicago Tribune
    • 57 Metascore
    • 63 Michael Wilmington
    Dark as it is, the humor makes it work, especially Greene's typically witty and compassionate portrayal of Mogie.
    • 57 Metascore
    • 75 Michael Wilmington
    Avoid it if you object to seeing people devoured by wolves, but see it if you want to howl at the moon.
    • 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
    • 88 Michael Wilmington
    A real gem: a deadpan fantasy that turns into one of the best pictures ever about the post-"Star Wars" studio moviemaking era.
    • 56 Metascore
    • 63 Michael Wilmington
    The movie isn't quite spry, warm or hip enough to carry out its very ambitious serio-comic agenda. Even for an ace like Levinson, Belfast is a long way from Baltimore.
    • Chicago Tribune
    • 56 Metascore
    • 60 Michael Wilmington
    Like the movies its modeled after, it's shallow, frequently silly. But there's something about the mix--maybe something about Parillaud as the screechy, dangerous Nikita--that may make the movie a powerful engine of wish-fulfillment. [12 Apr 1991, Calendar, p.F-10]
    • Los Angeles Times
    • 56 Metascore
    • 63 Michael Wilmington
    Harsh Times, is almost a good, salty urban thriller.
    • 56 Metascore
    • 50 Michael Wilmington
    Tries for both civilized wit and primitive joy -- and mostly misses both.
    • 56 Metascore
    • 75 Michael Wilmington
    Like all good popular entertainments, the best of it sings.
    • 56 Metascore
    • 50 Michael Wilmington
    This is a picture in which the barf scenes standard in the usual crude youth comedies aren't gratuitous. They're logical climaxes.
    • 56 Metascore
    • 63 Michael Wilmington
    While it's done well enough here - written smartly, staged crisply and acted to the hilt - it doesn't last, except as a brief virtuoso piece for three players.
    • 56 Metascore
    • 63 Michael Wilmington
    Pseudo art can be fun, though, even if it doesn't quite awaken all your senses.
    • Chicago Tribune
    • 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.
    • 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.
    • 56 Metascore
    • 63 Michael Wilmington
    Sweet-tempered, good-looking, goofy and not too sharp. The movie doesn't make much sense and neither does Danny, played by Welsh heartthrob Rhys Ifans.
    • 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
    • 56 Metascore
    • 63 Michael Wilmington
    Like the cerebral palsy-stricken Irish artist Christy Brown of "My Left Foot," Daniel Day-Lewis' Oscar-winning role, Ami is forced to fight such overwhelming odds to express himself that his very limitations become an aid to his vision.
    • 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.
    • 56 Metascore
    • 50 Michael Wilmington
    Minimalism be damned; even a postmodern noir needs more than Minus Man gives us. So do the actors.
    • 56 Metascore
    • 88 Michael Wilmington
    Done with an enticing mixture of lacerating comedy, lush Roger Deakins cinematography, robust acting and juicy lines, the Coens' Ladykillers is often glorious fun to watch. It won't please everyone, of course.
    • 56 Metascore
    • 100 Michael Wilmington
    In a league with Hollywood's top historical epics, ancient or otherwise. It's stunningly handsome film, with an equally stunning cast and engrossing story.
    • 56 Metascore
    • 75 Michael Wilmington
    Inspirational biographical movie that really works.
    • 56 Metascore
    • 63 Michael Wilmington
    It suddenly morphs into one more overly slick, empty show.
    • 56 Metascore
    • 75 Michael Wilmington
    There's just enough neurotic or sharp badinage and Rodeo Drive realism to make it all go down easy.
    • 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.
    • 55 Metascore
    • 88 Michael Wilmington
    The movie is a delight in many ways: an unabashed romantic comedy and Capraesque fable that takes Spielberg into realms he's rarely traveled before.
    • 55 Metascore
    • 63 Michael Wilmington
    A flashy, splashy and violent chase thriller.
    • 55 Metascore
    • 50 Michael Wilmington
    Does have heart and enthusiasm. But it might have worked better if it had been glitzed up and energized the way "Fame" was. It's not a script that can survive this kind of minimal, earnest, self-congratulatory treatment.
    • 55 Metascore
    • 88 Michael Wilmington
    Ultimately, p.s. confirms Kidd's talent without expanding it or achieving the comic/dramatic heights of "Roger Dodger."
    • 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.
    • 55 Metascore
    • 75 Michael Wilmington
    There's something a little absurd about this story, but for me, it's endearingly goofy.
    • 55 Metascore
    • 50 Michael Wilmington
    This romantic-comedy action movie is a fizzle.
    • 55 Metascore
    • 75 Michael Wilmington
    Jan Kounen, the maker of Darshan, is a French director with flashy credentials, including music videos, commercials, horror shorts, violent gangster movies ("Dobermann") and offbeat westerns ("Blueberry").
    • 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.
    • 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.
    • 55 Metascore
    • 25 Michael Wilmington
    there's no joy in this movie. It's a safe, compromised, even preachy, fable; a wannabe hip romp that never gets going. [07 Jul 1995]
    • 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.
    • 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
    • 55 Metascore
    • 88 Michael Wilmington
    Thornton and his excellent company summon up for us the long rides, dangerous companions, rites of passage, the mad love and, most of all, the special relationship between the man/boys that rode over the border and the horses that carried them there.
    • Chicago Tribune
    • 55 Metascore
    • 75 Michael Wilmington
    If the real-life story is genuinely inspirational, the movie stirs us as well.
    • 55 Metascore
    • 63 Michael Wilmington
    Erratically acted and, at times, clumsily written.
    • 55 Metascore
    • 75 Michael Wilmington
    Sometimes thrilling, sometimes suffocatingly tasteful adaptation of Stephen King's 1999 novel.
    • Chicago Tribune
    • 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.
    • 55 Metascore
    • 50 Michael Wilmington
    A commendably brave piece, but less focused and powerful than you'd like. In the end, Garapedian might have been better off concentrating her energy on the 1915 Armenian story--which has been told on film various times (for example, in "Forty Days of Musa Dagh" and Atom Egoyan's "Ararat"), but never with the power of, say, "The Pianist" or "Schindler's List."
    • 55 Metascore
    • 88 Michael Wilmington
    Good movie westerns these days may be too few and far between, but Ron Howard's The Missing is almost a great one.
    • 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.
    • 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.
    • 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
    • 54 Metascore
    • 88 Michael Wilmington
    A movie likely to rally huge audiences who want to take another roller coaster ride. And though it may disappoint a few of them, it's also a film that gives you something to think and feel sad about. It smashes you -- gently.
    • 54 Metascore
    • 100 Michael Wilmington
    Such a sour, mindlessly inflated experience that seeing it may temporarily put you off historical movies.
    • 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.
    • 54 Metascore
    • 75 Michael Wilmington
    Macabre, oddly gripping.
    • 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.
    • 54 Metascore
    • 75 Michael Wilmington
    Haunts the conscience, troubles the spirit.
    • Chicago Tribune
    • 54 Metascore
    • 63 Michael Wilmington
    A sometimes stirring, sometimes preposterous movie.
    • 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
    • 54 Metascore
    • 88 Michael Wilmington
    Allen gives us at least half a classic comedy - more than we usually get at the movies these days - while having some elegant fun with an idea that has intrigued poets and smart alecks through the ages: the interchangeability of comedy and tragedy.
    • 54 Metascore
    • 50 Michael Wilmington
    A wildly expensive movie full of computers, nonsense and violence, a film where wit, romance, elegance -- everything -- is sacrificed on the altar of giganticism, cliche and over-the-top action.
    • 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
    • 75 Michael Wilmington
    Exactly the sort of personalized, non-assembly line treat some audiences are always trying, in vain, to find.
    • 54 Metascore
    • 63 Michael Wilmington
    The content may be dubious, but the execution is hypnotic.
    • 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.
    • 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
    • 54 Metascore
    • 88 Michael Wilmington
    Wonderful spirit, humanity and humor.
    • 54 Metascore
    • 88 Michael Wilmington
    Casual moviegoers may enjoy it, too, if they follow a simple rule: Stop looking for the way out and let yourself get lost.
    • 54 Metascore
    • 75 Michael Wilmington
    The movie rips and roars.
    • 54 Metascore
    • 75 Michael Wilmington
    It's a sordid but expert shocker.
    • 53 Metascore
    • 63 Michael Wilmington
    Slender but surprisingly smart and pleasing.
    • 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.
    • 53 Metascore
    • 75 Michael Wilmington
    This is only a movie. But a good one. May Roddy Doyle give us many more.
    • 53 Metascore
    • 50 Michael Wilmington
    Hobbled with pedestrian direction, a dull visual style and a last act awash in obvious bang-bang melodrama.
    • 53 Metascore
    • 63 Michael Wilmington
    A gentle film, not very controversial despite its gay content, Chop Sue is valuable as a record of beauty and obsession, much less interesting as a human document.
    • 53 Metascore
    • 63 Michael Wilmington
    Kika is kind of a mess. But it's a charming, stimulating, talented and ingratiating mess, none-the-less.
    • 53 Metascore
    • 100 Michael Wilmington
    Attack of the Clones celebrates a certain youthful spirit in both moviemaking and movie watching; because it's as much phenomenon as movie, audiences will either ride with or reject it. I was happy to take the ride.
    • 53 Metascore
    • 75 Michael Wilmington
    The talk is witty, the twists are ingenious, the look and the mood are drop-dead.
    • 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.
    • 53 Metascore
    • 63 Michael Wilmington
    Good in many ways, full of talent and intelligence, and marks the debut of a promising young American writer-director, Dan Harris.
    • 53 Metascore
    • 75 Michael Wilmington
    Kline, though, does give one of the great movie performances of the year so far.
    • 53 Metascore
    • 88 Michael Wilmington
    Graced with Nair's loving direction, Witherspoon's radiance and that great cast, it is a treat, if somewhat less so than the novel.
    • 53 Metascore
    • 80 Michael Wilmington
    Johnny Suede has an astonishingly consistent tone and a remarkably talented and cohesive cast. [21 Aug 1992]
    • Los Angeles Times
    • 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.
    • 53 Metascore
    • 60 Michael Wilmington
    Most of the rest of this Hamlet effective or lovely as parts of it may be, just keeps sawing at the air in a drafty hall and pouring all its light on Mel Gibson and his angelic stubble. [18 Jan 1991]
    • Los Angeles Times
    • 53 Metascore
    • 88 Michael Wilmington
    In The Hudsucker Proxy, the filmmaking Coen brothers make dark, startling, wittily extravagant sport of the American Dream. The movie is opulent and wry, a bitingly intelligent fable about business and romance. [25 Mar 1994, p.A]
    • Chicago Tribune
    • 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
    • 53 Metascore
    • 63 Michael Wilmington
    It's a good film but an over-obvious one. I wish I'd liked it more.
    • Chicago Tribune
    • 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.
    • 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
    • 53 Metascore
    • 50 Michael Wilmington
    It's one of those fast, slick, half-smart shows that can't decide whether to pay its debts to action or reality -- and winds up cheating both.
    • 53 Metascore
    • 50 Michael Wilmington
    At least Reno is around -- and he's the only spice in this stale, slick stew
    • 53 Metascore
    • 50 Michael Wilmington
    This pretty but witless movie is well-produced, slickly directed -- full of jokes about hot dudes and hot babes pitched right at the "American Pie" crowd.
    • 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.
    • 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;
    • 53 Metascore
    • 88 Michael Wilmington
    Scott is able to make it fresh and lyrical, as well as give us rousingly exciting scenes of nature in eruption. [02 Feb 1996]
    • Chicago Tribune
    • 53 Metascore
    • 63 Michael Wilmington
    Starts like a house afire and then suffers an imagination burnout.
    • 52 Metascore
    • 25 Michael Wilmington
    It's hard to believe how bad this movie is.
    • Chicago Tribune
    • 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.
    • 52 Metascore
    • 63 Michael Wilmington
    A stylish, nasty, very well-done Belgian horror movie.
    • 52 Metascore
    • 88 Michael Wilmington
    A seductive revisiting of an old classic - one that helps us see these lovers and their world with renewed passion.
    • Chicago Tribune
    • 52 Metascore
    • 50 Michael Wilmington
    An irritation, more fizzle than sizzle.
    • 52 Metascore
    • 88 Michael Wilmington
    Seemingly a simple comedy, it actually -- like all Allen's "simple" comedies -- has a lot to say. Will the audience listen or just dismiss it as minor, out-of-date Woody? If they do, it's their loss.
    • 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.
    • 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.
    • 52 Metascore
    • 63 Michael Wilmington
    Strikes me as something of an elaborate mistake, a wasted opportunity and a script Hartley should have discarded. But I liked it anyway.
    • 52 Metascore
    • 50 Michael Wilmington
    May be the only movie in recent memory unworthy of its own genuinely hilarious Web site, www.finemanfilms.com.
    • 52 Metascore
    • 38 Michael Wilmington
    A gaudy yet grim science-fiction horror movie of such surpassing silliness, humorless intensity and stylistic overkill that watching it may actually put you in a state of paranoia.
    • 52 Metascore
    • 50 Michael Wilmington
    When the crashing chords and defiant lyrics of "Be the Rain" close things out, there's a burst of idealism and energy that redeems everything. If you see Greendale, treat the movie charitably and dig the music.
    • 52 Metascore
    • 50 Michael Wilmington
    As sports movies go, Gridiron Gang isn't bad, just not top-line material.
    • 52 Metascore
    • 63 Michael Wilmington
    Possession needs a sharp eye, a wicked tongue, less reverence and much more of its author's voice.
    • 52 Metascore
    • 88 Michael Wilmington
    A humane and fantastic work, and it touches us precisely because Konchalovsky shows the reality of both the soldiers and the madhouse inmates. His movie is just what he intended: a nightmare that speaks the truth.
    • 52 Metascore
    • 63 Michael Wilmington
    There is a thrill in seeing them wooing and pursuing each other through the streets of New York, a city that here again, for a while, becomes a movie isle of joy.
    • 52 Metascore
    • 75 Michael Wilmington
    As a sheer ghostly thriller, it's mostly a spell-binder, but I was disappointed at the ending.
    • 52 Metascore
    • 63 Michael Wilmington
    Strong, hard, dirty, funny, moving atmospheric and laced with scabrously musical street dialogue.

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