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 12.8 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Topsy-Turvy
Lowest review score: 0 Chaos
Score distribution:
1,278 movie reviews
    • 12 Metascore
    • 50 Michael Wilmington
    A smorgasbord of bad ideas, sumptuously over-realized.
    • 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.
    • 45 Metascore
    • 50 Michael Wilmington
    It's lively but chaotic and evasive. The period re-creation switches on and off. We get a sense of what the silver-walled Factory was like, but not the rest of swinging Manhattan in the '60s.
    • 49 Metascore
    • 50 Michael Wilmington
    In the end, it all can't help feeling a little slight, more a pleasant wade into a writer's neurotic playground than a satisfyingly deep dip.
    • 51 Metascore
    • 50 Michael Wilmington
    A funny movie, but like "Josh" himself, it's too self-absorbed, and maybe too nice, for its own good.
    • 52 Metascore
    • 50 Michael Wilmington
    An irritation, more fizzle than sizzle.
    • 49 Metascore
    • 50 Michael Wilmington
    A limply derivative, disappointingly trivial and hokey fish-out-of-water crime comedy.
    • 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
    • 9 Metascore
    • 50 Michael Wilmington
    Scientology or not, the movie is a battlefield bummer that makes you want to revolt.
    • Chicago Tribune
    • 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.
    • 38 Metascore
    • 50 Michael Wilmington
    A wild, wanton and wasteful western farce that's so overblown and underwritten it almost makes you cringe to watch it.
    • 45 Metascore
    • 50 Michael Wilmington
    An odd mix itself, of contemporary sexual realism and unabashed romantic fantasy. If "Days" works, it's mostly on a sheer fantasy level.
    • 41 Metascore
    • 50 Michael Wilmington
    It's overwhelming and, in a curious way, it's charming, but at the center, even though you see it in the right place, you detect not a heart, or a mind, but something like a hot, roasted marshmallow beating and burbling within a thickened, ursine breast.
    • 33 Metascore
    • 50 Michael Wilmington
    Kirk Douglas' performance...is so strong and inspiring it's a shame there isn't a better movie around it.
    • Chicago Tribune
    • 25 Metascore
    • 50 Michael Wilmington
    A sappy, often absurd disappointment, another would-be inspirational romance that, like Costner's overwrought "Message in a Bottle," is impossible to swallow.
    • 27 Metascore
    • 50 Michael Wilmington
    With his brazen gifts for mimicry, Eddie Murphy may now be the Peter Sellers of blockbuster toilet comedy movies.
    • 61 Metascore
    • 50 Michael Wilmington
    This one's worth the ticket price only if you are a showbiz-aholic.
    • Chicago Tribune
    • 33 Metascore
    • 50 Michael Wilmington
    Not a picture that makes you think very much -- except to wonder why the studios keep making movies like this.
    • 45 Metascore
    • 50 Michael Wilmington
    A dumb movie, but it's also a knowing one: a cheap castle of lewd trivia and corny excitement built on The Rock.
    • 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.
    • 33 Metascore
    • 50 Michael Wilmington
    Ragged as some of it might have been, that old "Out-of-Towners" had a unified and surprisingly dark comic vision to go with its nifty one-liners. This big, glossy picture is set in movie-movie land, that shiny, peachy place where a celebrity -- like Mayor Rudy -- waits around every corner. [2 April 1999, Friday, p.A]
    • Chicago Tribune
    • 32 Metascore
    • 50 Michael Wilmington
    Something about baseball seems to bring out the silly side in moviemakers -- even in a movie like The Fan, which starts out well-crafted and deadly serious and seems to have good enough actors and a savvy enough director to stay that way. But halfway through this thriller things go haywire. [16 Aug 1996, p.D]
    • Chicago Tribune
    • 45 Metascore
    • 50 Michael Wilmington
    The sum of all snores until the moviemakers start blowing up Baltimore halfway through. Then the special-effects people take over for about 20 breathless minutes.
    • 50 Metascore
    • 50 Michael Wilmington
    Though the story is potentially fascinating and the visuals sometimes spellbinding, the movie itself is stranded in the purgatory of the second-rate.
    • 46 Metascore
    • 50 Michael Wilmington
    Without Lemmon and Matthau, it's doubtful either "Grumpy" movie would be worth watching -- or even thinking about. But, because these two get much of their humor from reactions, the magnificent friction they create, they can say ridiculous things -- or even make up ridiculous lines (which they seem to be doing here) -- and make the scenes play. [22 Dec 1995, p.P]
    • Chicago Tribune
    • 70 Metascore
    • 50 Michael Wilmington
    For all Ricci's zingers, the actress who gets the most laughs here is Kudrow, who has an amazingly right-on offbeat comic sense and rhythm. Playing a bright, sexually repressed Indiana teacher, she displays priceless timing. [19 June 1998]
    • Chicago Tribune
    • 39 Metascore
    • 50 Michael Wilmington
    Pearce and Bonham Carter are remarkably photogenic, but the movie is fitful and mannered to a fault, full of watery allusions and stormy scares.
    • 44 Metascore
    • 50 Michael Wilmington
    All Center of the World has is the double entendre of its title, some unremarkable dramatic and sex scenes, and some embarrassing moments for its very game co-stars.
    • Chicago Tribune
    • 45 Metascore
    • 50 Michael Wilmington
    Written with such murderous gravity, certainty and gloomy solemnity - such an absence of real life or feeling - that it tends to kill our interest.
    • 67 Metascore
    • 50 Michael Wilmington
    At bottom, Lethal Weapon isn't much. It's a big, shallow, flashy, buddy-buddy cop thriller; it attacks you like a stereophonic steamroller, flattening everything behind it. Snatches of "Hustle" "Magnum Force" and "48 HRS." float above this plot like scum on a polluted lake, and the holes in logic and mindless climax are (or should be) embarrassing. [6 Mar 1987, p.4]
    • Los Angeles Times

Top Trailers