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 Pépé le Moko (re-release)
Lowest review score: 0 Chaos
Score distribution:
1,275 movie reviews
    • 84 Metascore
    • 100 Michael Wilmington
    A Chekhovian tale of major artistic power.
    • 75 Metascore
    • 100 Michael Wilmington
    The sheer stark speed and measured violence of On the Run catch us up quickly--and the film becomes a searing portrait of a killer-idealist lost out of time.
    • 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.
    • 82 Metascore
    • 100 Michael Wilmington
    The Russian film The Return is a stunning contemporary fable about a divided family in the wilderness - a simple, riveting film that almost achieves greatness.
    • 68 Metascore
    • 100 Michael Wilmington
    The story is engrossing, full of thrills and humor, the period re-creation wondrous and the pace intoxicatingly brisk. And the actors are all so good and their parts so well-written that we're engaged emotionally as well.
    • 93 Metascore
    • 100 Michael Wilmington
    One of the cinema's true classics.
    • 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.
    • 71 Metascore
    • 100 Michael Wilmington
    A prison movie of unusual richness and jarring power.
    • 100 Metascore
    • 100 Michael Wilmington
    If the uncut Fanny and Alexander is Bergman's greatest work, as I think, it's because it's his most inclusive. He shows almost everything: all his moods, conflicts, styles and many of his favorite actors.
    • 75 Metascore
    • 100 Michael Wilmington
    A masterpiece of wry violence and stylized mayhem, The Blind Swordsman: Zatoichi turns loose one of Japan's most brilliant film auteurs, Takeshi Kitano, on one of its most enduring pop legends.
    • 67 Metascore
    • 100 Michael Wilmington
    This movie, the subject of controversy, is a defiantly personal statement on what the war really is--laced with that now-familiar "Roger and Me" mix of homespun wit, pop culture playfulness, populist heart twisting and "gotcha" guerilla film-making tactics.
    • 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.
    • 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.
    • 84 Metascore
    • 100 Michael Wilmington
    Swooningly beautiful, furious and thrilling, Zhang Yimou's Hero is an action movie for the ages.
    • 83 Metascore
    • 100 Michael Wilmington
    Among its many excellences, Vera Drake functions superbly as a pure thriller; the last half is reminiscent in structure and detail of Hitchcock's "The Wrong Man."
    • 91 Metascore
    • 100 Michael Wilmington
    A beautiful picture with a great heart, a classic-to-be with a common touch.
    • 94 Metascore
    • 100 Michael Wilmington
    A boisterous, brilliant, heart-warming comedy--strikes me as just about perfect.
    • 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.
    • 76 Metascore
    • 100 Michael Wilmington
    It's a magical film which manages to transport and rivet us in the same highly-imaginitive, breezily playful way "Amelie" did.
    • 96 Metascore
    • 100 Michael Wilmington
    Sometimes cinema's highest achievements become clear only in retrospect. Days of Being Wild--now clearly revealed as one of the peaks of Hong Kong filmmaking and a masterwork of contemporary cinema giant Wong.
    • 77 Metascore
    • 100 Michael Wilmington
    Though it's a sad, somber, deeply questioning work, it's done with a light, loving spirit.
    • 89 Metascore
    • 100 Michael Wilmington
    It's as thrilling and lushly beautiful a movie as has been released all year, matched only by Zhang's epic "Hero." And I think this film is the more powerful.
    • 77 Metascore
    • 100 Michael Wilmington
    Sumptuously exciting, glowing with expertise, seething with life, gorgeously designed and thrillingly articulated.
    • 86 Metascore
    • 100 Michael Wilmington
    Achieves a mellowness and melancholy that recalls the jazzy dissonance of director (and here, composer) Eastwood's best work: "The Outlaw Josey Wales," "Bird," "Unforgiven" and "Mystic River."
    • 86 Metascore
    • 100 Michael Wilmington
    A masterpiece that can still leave you dizzy with wonder. As much as any movie ever made, this visionary science-fiction tale of space travel and first contact with extraterrestrial life is a spellbinding experience.
    • 92 Metascore
    • 100 Michael Wilmington
    Beautifully remastered and containing Cocteau's long-unseen special prologue and credits -- is as much a feat of feverish delight as it was in the dark days of Vichy and WWII.
    • 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
    • 88 Metascore
    • 100 Michael Wilmington
    Nobody Knows, by the often excellent Japanese filmmaker Hirokazu Kore-eda, is one of those special movies that can give us a new way of seeing.
    • 92 Metascore
    • 100 Michael Wilmington
    One of the quintessential '60s foreign art films, a bizarre melange of pop music, revolution, sex, movie allusions and poetry. It's a masterpiece of sorts by one of the most important European filmmakers of that era. But it's also a movie that can drive you crazy.
    • 82 Metascore
    • 100 Michael Wilmington
    Downfall, whatever its shortcomings, bears strong witness to great evil. That is its triumph as a film.