Michael Wilmington
Select another critic »
For 1,278 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 12.9 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Charlie and the Chocolate Factory
Lowest review score: 0 Chaos
Score distribution:
1,278 movie reviews
    • 73 Metascore
    • 100 Michael Wilmington
    Astonishing, crazily delightful.
    • 77 Metascore
    • 100 Michael Wilmington
    The kind of brilliantly weirdo picture that, by all rights, shouldn't have gotten made at all but this time, miraculously, was.
    • 91 Metascore
    • 100 Michael Wilmington
    Watching Le Cercle Rouge, we're caught up in a world that, however improbable some of its twists and turns seem, strikes us as a perfect, imaginative creation.
    • 100 Metascore
    • 100 Michael Wilmington
    Sumptuous and beautiful, suffused with a serene melancholy and deeply ambivalent love for a long-vanished past, Luchino Visconti's 1963 The Leopard is one of the greatest of all historical costume epics.
    • 77 Metascore
    • 100 Michael Wilmington
    The cast is tremendous; these actors work with Resnais like a well-oiled stock company that knows every trick and can communicate almost telepathically.
    • 82 Metascore
    • 100 Michael Wilmington
    Both sides of the story -- the larger context and the intense and intimate drama -- are painted with an absolutely unswerving sense of truth. And, as we watch this movie, full of violence, injustice and compassion, there is barely a moment that seems calculated or contrived.
    • 90 Metascore
    • 100 Michael Wilmington
    Masterpiece is the right word for The Sweet Hereafter. It is extraordinary: a poem of familial pain, a song of broken embraces. [25 December 1997, Tempo, p.1]
    • Chicago Tribune
    • 70 Metascore
    • 100 Michael Wilmington
    It's a work by cinematic geniuses that reveals beauty and terror in a long-ago time with a virtuoso intensity. You won't soon forget its mad, lovely sights and sounds.
    • 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.
    • 54 Metascore
    • 100 Michael Wilmington
    Such a sour, mindlessly inflated experience that seeing it may temporarily put you off historical movies.
    • 66 Metascore
    • 100 Michael Wilmington
    As we watch, we can sense, once again, the eye of a painter, the dreams of a poet and, tying them together, the vision of a master.
    • Chicago Tribune
    • 96 Metascore
    • 100 Michael Wilmington
    This landmark movie's madcap humor and terrifying suspense remain undiminished by time.
    • 93 Metascore
    • 100 Michael Wilmington
    One of the cinema's true classics.
    • 77 Metascore
    • 100 Michael Wilmington
    It's a nail-biter and knuckle whitener of the first rank: a super real life techno thriller that reduces the fantasies of Tom Clancy and his clones to ground zero.
    • Chicago Tribune
    • 87 Metascore
    • 100 Michael Wilmington
    Some scholars may scowl, some lowbrows may scoff. But, like wordwise Will, these filmmakers know how to win a crowd -- from the queen down to the groundlings, from the sky above to the stage below. Bravo! [5 December 1998, Friday, p.A]
    • Chicago Tribune
    • 90 Metascore
    • 100 Michael Wilmington
    This is a romance with minimal physical contact and sex--and that's part of what makes it work so well as a love story.
    • 77 Metascore
    • 100 Michael Wilmington
    Sumptuously exciting, glowing with expertise, seething with life, gorgeously designed and thrillingly articulated.
    • 82 Metascore
    • 100 Michael Wilmington
    The film is truly special, truly different -- a wondrous talky roundelay about and for people who love life.
    • 90 Metascore
    • 100 Michael Wilmington
    An amazing celluloid poem by a filmmaker whom Ingmar Bergman called "the greatest." He very nearly was. He was also, perhaps, too pure a creator and reckless a citizen to survive unscathed.
    • 91 Metascore
    • 100 Michael Wilmington
    You may not like Beau Travail - which is, after all, a quintessential "critic's film" - but I think you'll have to admit it's been almost perfectly executed.
    • 73 Metascore
    • 100 Michael Wilmington
    A beautiful and genuinely spirit-lifting film about poverty and education.
    • 93 Metascore
    • 100 Michael Wilmington
    Days of Heaven is the grand climax of the whole "Bonnie and Clyde"-"Badlands" tradition of outlaw-lovers-on-the-run movies. Shot by Nestor Almendros and the uncredited Haskell Wexler, it's a cinematographic masterpiece. [20 March 1998]
    • Chicago Tribune
    • 78 Metascore
    • 100 Michael Wilmington
    A movie I loved on first sight and, even more important, love in remembrance. Taken all in all, there's only one last thing to say about it. Go.
    • 86 Metascore
    • 100 Michael Wilmington
    A great, haunting film; it affects us in ways we're not used to...it is capable of both lifting our hearts and chilling us to the bone.
    • 100 Metascore
    • 100 Michael Wilmington
    Brando made Don Vito something we rarely see in movies: a tragicomic villain-hero, a vulnerable hood. The don is so close to a comic character -- the movie itself is so close to comedy -- that Brando's capacity to move us in the role is doubly impressive. At the end, it is the older Godfather's tenderness and sagacity we recall. [21 Mar 1997, Friday, p.A]
    • Chicago Tribune
    • 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.
    • 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
    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.
    • 71 Metascore
    • 100 Michael Wilmington
    Moves us now because it's so playful and the players are so young - and because later, when Godard tried to play for keeps, in his self-consciously radical films of the late '60s and '70s, he began to lose his game.
    • 89 Metascore
    • 100 Michael Wilmington
    In Jan Campion's The Piano, the emotions are deep, fierce, primordial. Sexuality overwhelms the film's characters like ocean waves blasting against a cliffside. [19 Nov 1993]
    • Chicago Tribune

Top Trailers