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 Beyond the Clouds
Lowest review score: 0 Chaos
Score distribution:
1,275 movie reviews
    • 69 Metascore
    • 88 Michael Wilmington
    It's a powerhouse, demanding film that sometimes stretches the limits of credibility. But it's done with such consistent technical brilliance--and with such a first-rate cast and company.
    • 84 Metascore
    • 88 Michael Wilmington
    One of the year's finest documentaries, a remarkable example of the conjunction of a burningly topical and newsworthy subject with a brilliant filmmaker.
    • 73 Metascore
    • 88 Michael Wilmington
    Children and animals, if they're handled right, can be among the great natural movie actors, and in The Cave of the Yellow Dog, writer-director Byambasuren Davaa handles her cast of youngsters and creatures (and a few adults) heartwarmingly well.
    • 78 Metascore
    • 88 Michael Wilmington
    Darin is an actor who's really consummate at suggesting two simultaneous levels of character.
    • 89 Metascore
    • 88 Michael Wilmington
    Works beautifully, both as a social and psychological drama and as a taut, tightly wired thriller.
    • 64 Metascore
    • 88 Michael Wilmington
    A visually sumptuous, bullet-train-paced thriller with a really provocative theme.
    • 82 Metascore
    • 88 Michael Wilmington
    Its social impact is part of what makes this movie memorable. But as with almost any exceptional, truthful war picture, Days of Glory moves us because we know the soldiers -- because we share their fear, triumph and pain.
    • 82 Metascore
    • 88 Michael Wilmington
    Peter O'Toole, still a British cinematic lion at 74, performs another movie miracle in the Roger Michell-Hanif Kureishi film Venus.
    • 64 Metascore
    • 88 Michael Wilmington
    It's not often that you see the craft of cinema so perfectly executed--or a group of fancy scoundrels so ruthlessly caught and skewered. Comedy of Power, like all of Chabrol's Hitchcockian films, is dark, smart and delicious.
    • 62 Metascore
    • 88 Michael Wilmington
    You could say that Seraphim Falls, was no better than the typical Westerns of the 1950s and '60s--which I think underrates it. But those typical Westerns were pretty darn good, and so is Seraphim Falls.
    • 71 Metascore
    • 88 Michael Wilmington
    Zbanic, who lived through the Bosnian war in Sarajevo, is an unusual talent. Here, she makes us feel the hell her characters once lived through as well as the leftover, stinging pain of today.
    • 78 Metascore
    • 88 Michael Wilmington
    A film of great spiritual intensity and haunting minimalism that enlarges your concepts of movies and of life. Like the monks of the Carthusian order, it distills something intoxicating through a style that's pure and rigorous.
    • 66 Metascore
    • 88 Michael Wilmington
    Mrs. Parker is a comedy even though it's sad, and a sort of tragedy even though it's funny, with such foggy borders between the two that pathos and humor seem to smear all over each other, like makeup running with tears. [23 Dec 1994, p.N]
    • Chicago Tribune
    • 71 Metascore
    • 88 Michael Wilmington
    The movie scrambles our responses and covers so much ground, with such zest, that its two and a half hours race past like a firestorm.
    • 53 Metascore
    • 88 Michael Wilmington
    Scott is able to make it fresh and lyrical, as well as give us rousingly exciting scenes of nature in eruption. [02 Feb 1996]
    • 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
    • 93 Metascore
    • 88 Michael Wilmington
    The splendid new documentary Crumb, a sympathetic yet woundingly candid portrait, catches the artist with much the same skill. [26 May 1995]
    • Chicago Tribune
    • 53 Metascore
    • 88 Michael Wilmington
    In The Hudsucker Proxy, the filmmaking Coen brothers make dark, startling, wittily extravagant sport of the American Dream. The movie is opulent and wry, a bitingly intelligent fable about business and romance. [25 Mar 1994, p.A]
    • Chicago Tribune
    • 85 Metascore
    • 88 Michael Wilmington
    With Maura delivering an explosive performance, Almodovar presents Pepa's tale with real gusto--with vibrant colors, gaudy personality, mad jokes and a sexiness that erupts off the screen.
    • 47 Metascore
    • 88 Michael Wilmington
    Wyatt Earp is a fascinating ride to a West where darkness and heroism mingle, a triumph for Kasdan, Costner, Quaid and the company. It shows how, in this frontier crucible, love and death, honor and slaughter, friendship and a walk toward doom, are all linked together as well. [24 Jun 1994, p.F]
    • Chicago Tribune
    • 57 Metascore
    • 88 Michael Wilmington
    The movie looks like far more than a million dollars and it offers the kind of smart, picaresque good time you get from books like "The Reivers" and "Huckleberry Finn" and movies like "Bronco Billy" and "Bonnie and Clyde."
    • 66 Metascore
    • 88 Michael Wilmington
    The masterpiece of the bunch is the last, wonderful piece by Alexander Payne ("14eme Arrondissement").
    • 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
    • 68 Metascore
    • 88 Michael Wilmington
    Movies about literary lives don't always catch fire, but Henry Fool is a glorious exception: an austerely funny, brilliantly written and acted serio-comic tale of two writers. [17 Jul 1998]
    • Chicago Tribune
    • 50 Metascore
    • 88 Michael Wilmington
    The most visually spectacular, action-packed and surreal of the adventures of Capt. Jack Sparrow (Johnny Depp).
    • 74 Metascore
    • 88 Michael Wilmington
    Called "Nuovomondo" in its native Italy, it's bittersweet, neither as comic and sentimental as Charlie Chaplin's 1917 great silent comedy "The Immigrant," nor as cynical and epic as Elia Kazan's 1963 "America, America," but close to both.
    • 69 Metascore
    • 88 Michael Wilmington
    Like Robert Altman's "Short Cuts," it is an all-star fresco, but the stars--none of whom carries the movie--get to play the kind of morally ambivalent, sometimes unlikable parts that big-name actors usually avoid.
    • 69 Metascore
    • 88 Michael Wilmington
    Soderbergh pretty much failed in trying to evoke a noir-like nightmare world in the 1919 Prague of "Kafka," his 1991 terror film. But here, he dazzlingly hews out a noir landscape in more unlikely territory: modern-day Austin, Texas. [28 April 1995]
    • Chicago Tribune
    • 69 Metascore
    • 88 Michael Wilmington
    Funny Games is an intellectual's suspense film, which ultimately tries to critique and demystify violence. But, since our responses are never all cerebral, that's not entirely possible.
    • 76 Metascore
    • 88 Michael Wilmington
    So intense and warm are Leigh's feelings for his characters, that we may remember Hannah and Annie long afterward as old friends -- imperfect yet lovable, pals with whom we've suffered and laughed a lot.