Michael Wilmington
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For 1,277 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 13.1 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Shine
Lowest review score: 0 Chaos
Score distribution:
1,277 movie reviews
    • 66 Metascore
    • 88 Michael Wilmington
    It's a genuine shocker - a dazzler of a film - a hellishly funny picture.
    • Chicago Tribune
    • 79 Metascore
    • 88 Michael Wilmington
    A dark subject certainly, but in Murray's bouquet-bearing hands, it can still hand us a laugh.
    • 52 Metascore
    • 88 Michael Wilmington
    A seductive revisiting of an old classic - one that helps us see these lovers and their world with renewed passion.
    • Chicago Tribune
    • 63 Metascore
    • 88 Michael Wilmington
    All the accolades Lyne got for "Fatal Attraction" -- and didn't really merit -- he deserves here.
    • 77 Metascore
    • 88 Michael Wilmington
    Delighted me like few films I've seen recently. It's a sexy, sweet, sumptuously entertaining movie about the huge and wildly eventful wedding reception.
    • 74 Metascore
    • 88 Michael Wilmington
    A classic of realistic terror, in which passion and murder can't lie buried.
    • 59 Metascore
    • 88 Michael Wilmington
    It's an intelligent and informed look at the preposterous ways our leaders are often picked and sabotaged.
    • Chicago Tribune
    • 76 Metascore
    • 88 Michael Wilmington
    A fine, exciting film that makes a bloody historical event live all over again by showing it through the eyes of children on the edges of the conflict.
    • 59 Metascore
    • 88 Michael Wilmington
    Miller's quiet artistry is at its peak, and though "Lili" is not as subtle, profound or moving a work as Chekhov's play, it's an intelligent, first-rate piece of cinema.
    • 84 Metascore
    • 88 Michael Wilmington
    Scene after scene in Calle 54 just knocks you out.
    • Chicago Tribune
    • 73 Metascore
    • 88 Michael Wilmington
    A funny valentine by an old master, woos us into the dance.
    • 70 Metascore
    • 88 Michael Wilmington
    Though it's not the great film "Grand Illusion" is, and though it may strike some as a little schmaltzy, it still has some of that earlier film's deep feeling and empathy for soldiers trapped in the jaws of war and for the joys of Christmas--for believers and non-believers alike.
    • 71 Metascore
    • 88 Michael Wilmington
    These girls can cook, and Yamashita captures them with an austere, unhurried visual style that has been rightly compared to rock aficionado/filmmakers Aki Kaurismaki ("Ariel") and Jim Jarmusch ("Mystery Train"). [8 Dec 2006, p.2]
    • Chicago Tribune
    • 72 Metascore
    • 88 Michael Wilmington
    Thanks to Echer, Nettelbeck and this delicious movie, I was able to hear "Country" and the other Jarrett tunes in scene after scene - heightening moods, lyricizing action and making Hamburg seem like a wintry love song. Predictable or not, that's often as good as it gets.
    • 68 Metascore
    • 88 Michael Wilmington
    One of those sweet, intelligent, nicely made films.
    • 77 Metascore
    • 88 Michael Wilmington
    A harsh, spellbinding tale.
    • 54 Metascore
    • 88 Michael Wilmington
    A movie likely to rally huge audiences who want to take another roller coaster ride. And though it may disappoint a few of them, it's also a film that gives you something to think and feel sad about. It smashes you -- gently.
    • 74 Metascore
    • 88 Michael Wilmington
    An extraordinarily truthful and piercing drama.
    • 75 Metascore
    • 88 Michael Wilmington
    One of the year's most thought-provoking, hard-hitting films, gutsily opening up a subject rarely done with this kind of all-out chutzpah.
    • 68 Metascore
    • 88 Michael Wilmington
    It's a lovely, terrifying sight.
    • Chicago Tribune
    • 51 Metascore
    • 88 Michael Wilmington
    It's the best new battle film since "Black Hawk Down," a movie it surpasses in sheer feeling and bravura style, if not in nightmarish panic and suspense.
    • 75 Metascore
    • 88 Michael Wilmington
    It's a great film that, sadly, may be ignored by all but the most dedicated, knowledgable filmgoers.
    • 84 Metascore
    • 88 Michael Wilmington
    Thompson clearly loves this story, and, even though, she's playing the less spontaneous of the older Dashwood sisters, responsible Elinor, you can feel her spirit rising out to embrace the part. It makes her beautiful to watch. [13 December 1995]
    • Chicago Tribune
    • 72 Metascore
    • 88 Michael Wilmington
    A lovely film with a deeply humane perspective.
    • 84 Metascore
    • 88 Michael Wilmington
    The new Lassie is faithful to Knight's story, capturing its sweep, Dickensian social contrasts and high emotion. All that is enhanced by a splendid cast.
    • 80 Metascore
    • 88 Michael Wilmington
    The tone and feel of Wild Reeds keeps shifting between irony and sentimentality, violence and tenderness, rebellion and acceptance. And those oscillations fit the volatile nature of its subject: young love and friendship. Together with his attractive and excellent cast, Techine recalls and invokes the mood swings of youth, the intensity and bursts of near-delirious passion.
    • 82 Metascore
    • 88 Michael Wilmington
    Twilight is a great samurai film in the way that "Unforgiven," "The Gunfighter" or "Will Penny"--all muted, somber films about aging gunfighters--are great westerns.
    • 68 Metascore
    • 88 Michael Wilmington
    With his usual consummate visual skills and his flair for the nauseatingly audacious, David Cronenberg’s written (spottily) and directed (stunningly) a movie that often makes you feel as if you'd lost contact with reality: a twisted, nightmarish tale of futuristic reality games and a couple on the run. [23 April 1999, Friday, p.D]
    • Chicago Tribune
    • 68 Metascore
    • 88 Michael Wilmington
    Yet the film, no more than the novel, shouldn't be described as depressing. Both of them shine with heightened vision and poetics. [01 Nov 1996]
    • Chicago Tribune
    • 75 Metascore
    • 88 Michael Wilmington
    Salles' movie isn't fiery or didactic. It doesn't rage or storm. Salles romanticizes the youthful Ernesto.

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