Michael Wilmington
Select another critic »
For 1,276 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 13.3 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Amores Perros
Lowest review score: 0 Chaos
Score distribution:
1,276 movie reviews
    • 90 Metascore
    • 100 Michael Wilmington
    Badlands is about a landscape as much as the couple fleeing across it. Watching it, you sense that Malick finds his outlaw lovers beautiful and terrible, pathetic and monstrous, funny and overwhelmingly sad. [27 March 1998]
    • 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.
    • 84 Metascore
    • 100 Michael Wilmington
    even in the notable ranks of Leigh's movie, TV and theater work-an oeuvre embracing high comedy, biting comment and shivering pathos-Naked is extraordinary. In the hands of Leigh and his magnificently gifted, gutsy cast, these days and nights on London's streets burn themselves on our minds.
    • 48 Metascore
    • 100 Michael Wilmington
    It's a spree of a movie, one of the most impishly entertaining of Altman's career. Smart, sparkling, almost sinfully amusing.
    • 57 Metascore
    • 100 Michael Wilmington
    Kansas City is a wonderful film, done with all Altman's offbeat virtuosity, maverick humor and creative daring -- plus the acid nip that runs through all his recent works.
    • 98 Metascore
    • 100 Michael Wilmington
    Hoop Dreams has the movie equivalent of all-court vision. It picks up everything happening in the gym, in the stands and even outside. It gives us the thrill of the game, but it doesn't cheat on either the vibrant social context or the deep human story.
    • 80 Metascore
    • 100 Michael Wilmington
    It's a shining valentine to the movies--full of homages, collages and swooningly romantic Ennio Morricone music--and it gets right at the messy, impure, wondrous way they capture and enrapture us. [16 February 1990, Calendar, p.F-1]
    • Los Angeles Times
    • 74 Metascore
    • 100 Michael Wilmington
    Perhaps the most original movie fantasy creation of the year: an icon of tenderness and artistic alienation that clings, stickum-like, to your mind's eye and the softest, most woundable parts of your mass-culture heart. [7 Dec 1990, Calendar, p.F-1]
    • Los Angeles Times
    • 60 Metascore
    • 90 Michael Wilmington
    Though definitely one of the best American movies of the year--a work of high ensemble talent and intelligence, gorgeously mounted and crafted, artistically audacious in ways that most American movies don't even attempt--it's still a disappointment… It's not the capstone we might have wanted Coppola to make. [23 Dec 1990, Calendar, p.9]
    • Los Angeles Times
    • 79 Metascore
    • 90 Michael Wilmington
    There's a muscular sincerity to this movie, a power and spread to its imagery that triumphs over the occasional candied purple patches or strained plot twists. [16 Jul 1993 Pg. F1]
    • Los Angeles Times
    • 81 Metascore
    • 90 Michael Wilmington
    A lot of this horrific Little Shop is not only sweet, melodic, funny and oddly idealistic, it's even, well, tasty. [19 Dec 1986, p.1]
    • Los Angeles Times
    • 73 Metascore
    • 88 Michael Wilmington
    Lovely, heart-stirring film.
    • 73 Metascore
    • 88 Michael Wilmington
    A beautiful, almost defiant film on an unusual subject: love among the elderly.
    • Chicago Tribune
    • 48 Metascore
    • 88 Michael Wilmington
    A modern digitized lollapalooza concocted out of old-fashioned slam-bang space opera elements.
    • 50 Metascore
    • 88 Michael Wilmington
    This century's Planet of the Apes is a rouser, a screaming-banshee fun house.
    • 69 Metascore
    • 88 Michael Wilmington
    Visually, even compared to Sayles' own best work, it's somewhat prosaic - and dramatically, it suffers from the fact that its two main characters are kept so far apart. But the screenwriting and the cast redeem this film.
    • 74 Metascore
    • 88 Michael Wilmington
    The kind of movie some audiences are starved for, a comedy with a human face, warmth and spirit.
    • Chicago Tribune
    • 82 Metascore
    • 88 Michael Wilmington
    A picture about America with the blinders off, a film about heroism that makes you chuckle and feel sad - and a film about childhood that lets us reenter that lost world and see the grass, sky and sunlight the way they once looked, in the golden hours.
    • Chicago Tribune
    • 52 Metascore
    • 88 Michael Wilmington
    There's scarcely a scene in which the actors, action and sound track aren't cranked up to maximum intensity.
    • Chicago Tribune
    • 66 Metascore
    • 88 Michael Wilmington
    The Zellweger-Firth-Grant triangle works as irresistibly as Hepburn-Grant-Stewart in "The Philadelphia Story."
    • Chicago Tribune
    • 81 Metascore
    • 88 Michael Wilmington
    This is not an inspirational drama about finding yourself; it's a Hitchcockian comedy about adultery, murder and losing a corpse.
    • Chicago Tribune
    • 59 Metascore
    • 88 Michael Wilmington
    These are real characters, fully observed, gutsily written, beautifully acted by the two leads.
    • 71 Metascore
    • 88 Michael Wilmington
    It's a summit meeting between three brilliant leading men from three generations with three striking on-screen personas.
    • 56 Metascore
    • 88 Michael Wilmington
    A real gem: a deadpan fantasy that turns into one of the best pictures ever about the post-"Star Wars" studio moviemaking era.
    • 75 Metascore
    • 88 Michael Wilmington
    A deliberately old-fashioned picture that succeeds in nearly everything it tries to do.
    • Chicago Tribune
    • 51 Metascore
    • 88 Michael Wilmington
    It has a jokey irreverence that keeps it from teetering over the edge to absurdity.
    • 84 Metascore
    • 88 Michael Wilmington
    Scene after scene in Calle 54 just knocks you out.
    • Chicago Tribune
    • 80 Metascore
    • 88 Michael Wilmington
    The simplicity and idealism of The Color of Paradise are part of what makes it so attractive to near-jaded palates here. There are no evil characters in the film.
    • 66 Metascore
    • 88 Michael Wilmington
    A fine French comedy-drama.
    • Chicago Tribune
    • 71 Metascore
    • 88 Michael Wilmington
    An incredibly ambitious film and one of the most highly accomplished of the year.