Michael Wilmington
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For 1,275 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 Hero
Lowest review score: 0 Chaos
Score distribution:
1,275 movie reviews
    • 73 Metascore
    • 100 Michael Wilmington
    Astonishing, crazily delightful.
    • 75 Metascore
    • 100 Michael Wilmington
    Few Hollywood action pictures are half as exciting or ravishing.
    • Chicago Tribune
    • 97 Metascore
    • 100 Michael Wilmington
    No matter how many heists you've seen, how many gangs you've watched fall apart or how many aging crooks you've seen walk up a mean street to a violent destiny, Rififi never loses its ruthless grace and force.
    • 78 Metascore
    • 100 Michael Wilmington
    Another masterpiece from one of the world's more neglected great directors, a master artist who here reveals the soul of another.
    • 85 Metascore
    • 100 Michael Wilmington
    A hard-core movie with a soft, light-hearted center and an edge like a knife.
    • Chicago Tribune
    • 71 Metascore
    • 100 Michael Wilmington
    A great love story and a deeply moving celebration of simple lives.
    • 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
    • 86 Metascore
    • 100 Michael Wilmington
    Loach is a super-realist, and Sweet Sixteen has the disarming feel of a documentary. It's a film that miraculously catches life on the fly, without apparent embellishment, cliche or melodrama.
    • 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.
    • 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.
    • 85 Metascore
    • 100 Michael Wilmington
    This is a superb film and one of Nicholson's great performances, tamped down but magnetic.
    • 69 Metascore
    • 100 Michael Wilmington
    It put a smile on my face that never left for 117 minutes.
    • 98 Metascore
    • 100 Michael Wilmington
    Trashy and glorious, the restored Metropolis is a pop epic for the ages.
    • 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.
    • 68 Metascore
    • 100 Michael Wilmington
    A spellbinder: provocatively conceived, gorgeously shot and masterfully executed.
    • 90 Metascore
    • 100 Michael Wilmington
    It's a scintillating comedy-drama and one of Altman's most richly moving and entertaining pictures.
    • 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.
    • 83 Metascore
    • 100 Michael Wilmington
    Heroin may be a downer, but Trainspotting definitely takes you up…a series of roaring, provocative, outrageous highs. [26 July 1996, Friday, p.C]
    • Chicago Tribune
    • 81 Metascore
    • 100 Michael Wilmington
    Like "Memento," Mulholland Drive is an amnesiac noir in the tradition that goes back to "Spellbound" and "Somewhere in the Night."
    • 67 Metascore
    • 100 Michael Wilmington
    This is a terrific movie: jolting, savage, horrifically funny, nightmarishly exciting but also brainy and compassionate.
    • 90 Metascore
    • 100 Michael Wilmington
    Delicately subversive, hypnotically sardonic, full of terror, banality and wafer-thin lyricism.
    • 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
    • 78 Metascore
    • 100 Michael Wilmington
    Told with such sadness and exaltation, such mastery of image and sound, that watching it makes you feel renewed and hopeful.
    • 87 Metascore
    • 100 Michael Wilmington
    All but sweeps you away with its dazzling technique and shattering emotion. [27 November 1996, Tempo, p.1]
    • Chicago Tribune
    • 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.
    • 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.
    • 65 Metascore
    • 100 Michael Wilmington
    Pure magic, a three-act movie fantasy that transports us -- as the best films do -- to a world of its own, a place of ambiguous joy and delirious terror.
    • Chicago Tribune
    • 80 Metascore
    • 100 Michael Wilmington
    May show both director and star working at their professional peaks, but I don't think it's as good as that underappreciated masterwork "A.I." It's not as resonant and daring, not as full of magic and marvel. Spielberg stretches himself technically here but not emotionally.
    • 86 Metascore
    • 100 Michael Wilmington
    It's a thriller that really thrills, a drama that really engages, a portrait of a world and system out of joint that is painfully convincing and totally engrossing from the first simmering minute to the last explosive second.
    • 86 Metascore
    • 100 Michael Wilmington
    Great filmmakers push their ideas and characters to the limit, unafraid of consequences - which is what Pedro Almodovar has done in Talk To Her, his latest film and, I think, his best.