For 1,221 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 14.1 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
Average review score: 73
Highest review score: 100 Beauty and the Beast (re-release)
Lowest review score: 0 Chaos
Score distribution:
1,221 movie reviews
    • 69 Metascore
    • 100 Michael Wilmington
    It put a smile on my face that never left for 117 minutes.
    • 77 Metascore
    • 100 Michael Wilmington
    Though it's a sad, somber, deeply questioning work, it's done with a light, loving spirit.
    • 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.
    • 68 Metascore
    • 100 Michael Wilmington
    This is a film precisely constructed, brilliantly imagined.
    • 84 Metascore
    • 100 Michael Wilmington
    Swooningly beautiful, furious and thrilling, Zhang Yimou's Hero is an action movie for the ages.
    • 90 Metascore
    • 100 Michael Wilmington
    An improbable masterpiece -- a bizarre mixture of grandly operatic visuals, grim brutality and sordid violence that keeps wrenching you from one extreme to the other.
    • 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.
    • 64 Metascore
    • 100 Michael Wilmington
    It's tantalizing, delectable and randy, a movie of melting eroticism and toothsome humor.
    • 96 Metascore
    • 100 Michael Wilmington
    This landmark movie's madcap humor and terrifying suspense remain undiminished by time.
    • 88 Metascore
    • 100 Michael Wilmington
    The greatest rock concert movie ever made -- and maybe the best rock movie, period.
    • 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."
    • 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]
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 100 Michael Wilmington
    Astonishing, crazily delightful.
    • 82 Metascore
    • 100 Michael Wilmington
    Clean up the language, and this little roach of a movie could play the bottom half of a double bill with Rowan and Martin's “The Maltese Bippy.” [26 March 1999, Life, p.9E]
    • 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]
    • 92 Metascore
    • 100 Michael Wilmington
    An extraordinary work, grandly conceived, brilliantly executed and wildly entertaining. It's a hobbit's dream, a wizard's delight. And, of course, it's only the beginning.
    • 88 Metascore
    • 100 Michael Wilmington
    Moviegoers should be almost as entranced by the teeming, glorious landscapes and dark, bloody battlegrounds of Two Towers: astonishing midpoint of an epic movie fantasy journey for the ages.
    • 79 Metascore
    • 100 Michael Wilmington
    Some movies can lay claim to being the best thing around in a week, a month, a year. Robert Altman's Short Cuts is closer to being one of the all-time bests, among the finest American films since the advent of sound. [22 Oct 1993]
    • 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.
    • 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."
    • 77 Metascore
    • 100 Michael Wilmington
    Sumptuously exciting, glowing with expertise, seething with life, gorgeously designed and thrillingly articulated.
    • 91 Metascore
    • 100 Michael Wilmington
    The movie holds up far better than its detractors guessed - splendidly, in fact - not only thanks to Scott's spellbinding acting, but to the epic imagery, Coppola's (and Edmund North's) highly intelligent script and Schaffner's lucid, perfectly controlled direction.
    • 83 Metascore
    • 100 Michael Wilmington
    This is a picture that may sound sappy but probably will enrapture audiences lucky enough to catch it. [19 May 1995, p.L]
    • 65 Metascore
    • 100 Michael Wilmington
    It's a movie that's so personal, naked and vulnerable that you can understand why some of its humor seems rough, some of its visuals excessive. But Crooklyn has a quality not as obvious in any Lee film since "Do the Right Thing": the sense of a whole world opening, rich and real, before your eyes. [13 May 1994, p.A]
    • 73 Metascore
    • 100 Michael Wilmington
    This remarkable movie is really one-of-a-kind. [15 Dec 1995]
    • 81 Metascore
    • 100 Michael Wilmington
    Georgia, written with rare honesty and economy by Leigh's mother, Barbara Turner, and very sensitively directed by Ulu Grosbard, is a tough-minded look at show business and families. [10 Jan 1996]
    • 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.