Michael Wilmington
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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 13.2 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 The Leopard (re-release)
Lowest review score: 0 Chaos
Score distribution:
1,276 movie reviews
    • 85 Metascore
    • 100 Michael Wilmington
    Jafar Panahi of Iran is one of his country's great filmmakers, and Offside is his best movie to date.
    • 79 Metascore
    • 100 Michael Wilmington
    82-year-old Ingmar Bergman takes one of the most painful, shameful episodes of his own life and, writing for director Liv Ullmann, transmutes it into magical, brilliant artistry.
    • Chicago Tribune
    • 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
    • 75 Metascore
    • 100 Michael Wilmington
    Few Hollywood action pictures are half as exciting or ravishing.
    • Chicago Tribune
    • 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.
    • 73 Metascore
    • 100 Michael Wilmington
    It's so thoroughly engaging, so beautifully made, strikingly shot and chock-full of humor and humanity, I can't imagine any intelligent audience not falling in love with it - if only they take the leap of faith to see it.
    • 81 Metascore
    • 100 Michael Wilmington
    A film which should gratify any audience starved for intelligent dialogue, realistic portrayals of romance and lovely, non-cliched open-air photography.
    • 73 Metascore
    • 100 Michael Wilmington
    Moretti gives us something different but very important. He shows us how life goes on.
    • 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.
    • 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.
    • 98 Metascore
    • 100 Michael Wilmington
    A timeless romantic thriller that steeps us in one of those great artificial movie worlds that become more overpowering than reality itself.
    • 98 Metascore
    • 100 Michael Wilmington
    Trashy and glorious, the restored Metropolis is a pop epic for the ages.
    • 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.
    • 79 Metascore
    • 100 Michael Wilmington
    A spectacular, engrossing, big-hearted film based on one of Korea's great national epics and made by that country's top filmmaker.
    • Chicago Tribune
    • 83 Metascore
    • 100 Michael Wilmington
    A stunner: a fiercely brilliant film of such wrenching impact, nonstop drive and unpredictability that watching it becomes an exhilarating ride.
    • 83 Metascore
    • 100 Michael Wilmington
    Of all the movies I've seen in the past several years, this is one of the ones I love the most.
    • 82 Metascore
    • 100 Michael Wilmington
    It is a movie about the gradual erosion of life's seeming certainties, and it's also about the destructive immorality that may lie beneath the most exquisitely composed veneer. As we watch "Chocolat," this great director and his great actress, Huppert, convince us: Evil is.
    • 74 Metascore
    • 100 Michael Wilmington
    Both the movie and Denzel Washington are knockouts.
    • Chicago Tribune
    • 64 Metascore
    • 100 Michael Wilmington
    It's a joy. Altman does Dallas the way he did "Nashville" in Nashville or Hollywood in "The Player."
    • Chicago Tribune
    • 70 Metascore
    • 100 Michael Wilmington
    An absolute delight, one of the most sheerly pleasurable movies Altman has ever made. It's wry, jokey and sexy, a tart and delectable entertainment. And, like most of Altman's best work, it's graced with a top-notch ensemble of first-class [9 April 1999, Friday, p.A]
    • Chicago Tribune
    • 72 Metascore
    • 100 Michael Wilmington
    A rare example of a literary film that preserves the best of its source while creatively filling up on it.
    • Chicago Tribune
    • 73 Metascore
    • 100 Michael Wilmington
    Takes the raw truth and makes it jubilantly, terrifically entertaining.
    • Chicago Tribune
    • 78 Metascore
    • 100 Michael Wilmington
    A movie I loved on first sight and, even more important, love in remembrance. Taken all in all, there's only one last thing to say about it. Go.
    • 54 Metascore
    • 100 Michael Wilmington
    Such a sour, mindlessly inflated experience that seeing it may temporarily put you off historical movies.
    • 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
    • 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.
    • 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
    • 84 Metascore
    • 100 Michael Wilmington
    A powerful film made with minimal means, it's a story of poor people on the fringes of society, done without sentimentality or condescension but with wicked humor.
    • 73 Metascore
    • 100 Michael Wilmington
    Like all the Coens' movies, "Man" is supremely self-aware and darkly, hellishly funny. It's also brilliantly written and acted to a fare-thee-well by an outrageously good cast.

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