Michael Wilmington
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For 1,278 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 12.9 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Nobody Knows
Lowest review score: 0 Chaos
Score distribution:
1,278 movie reviews
    • 86 Metascore
    • 100 Michael Wilmington
    A masterpiece that can still leave you dizzy with wonder. As much as any movie ever made, this visionary science-fiction tale of space travel and first contact with extraterrestrial life is a spellbinding experience.
    • 72 Metascore
    • 100 Michael Wilmington
    A magnificent throwback to an almost vanished era of epic filmmaking by great filmmakers in thrall to their own passions, rather than to the studio bookkeepers.
    • 69 Metascore
    • 100 Michael Wilmington
    Vibrating with humanity, it's a potent portrait of love, ranging from the purely carnal to the impurely sublime.
    • 81 Metascore
    • 100 Michael Wilmington
    With rich irony, The World juxtaposes the teasing, grand images of the outside world's wonders with the insular community and the mundane lives of the park employees.
    • 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."
    • 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.
    • 89 Metascore
    • 100 Michael Wilmington
    A major cinema event of the year, a masterpiece of Italian film traditions in social/political realism and historical family epic.
    • 84 Metascore
    • 100 Michael Wilmington
    There's an incongruous but ravishing beauty in Far From Heaven, and in its three excellent central performances, that counteracts the seeming kitschiness of the story.
    • 82 Metascore
    • 100 Michael Wilmington
    The Russian film The Return is a stunning contemporary fable about a divided family in the wilderness - a simple, riveting film that almost achieves greatness.
    • 92 Metascore
    • 100 Michael Wilmington
    A film that lets life flood into our souls.
    • 66 Metascore
    • 100 Michael Wilmington
    Be forewarned: Dog Days, like many of Seidel's films, will drive some moviegoers to rage and walkouts with its unrelentingly depressing tone. But it also a remarkable, deeply disturbing work by a brilliant filmmaker.
    • 93 Metascore
    • 100 Michael Wilmington
    It still soars, but now it seems richer, more expansive. Amadeus reminds us that movies can be lyrical as well as vulgar, ambitious as well as playful, brilliant as well as down and dirty -- just like Amadeus himself.
    • 84 Metascore
    • 100 Michael Wilmington
    A Chekhovian tale of major artistic power.
    • 80 Metascore
    • 100 Michael Wilmington
    Perfect for anyone with a youthful heart and a rich imagination.
    • 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
    • 86 Metascore
    • 100 Michael Wilmington
    Extraordinary film, one that, like the museum itself, captures and shows three centuries of Russian culture and history in all its beauty, confusion, terror and majesty.
    • 99 Metascore
    • 100 Michael Wilmington
    A film masterpiece, restored more than three decades after its French release, "Army" remains a superb, coolly accurate portrait of a living hell recalled by two men who knew it well and record it truly, Melville and novelist Joseph Kessel.
    • 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
    • 53 Metascore
    • 100 Michael Wilmington
    Attack of the Clones celebrates a certain youthful spirit in both moviemaking and movie watching; because it's as much phenomenon as movie, audiences will either ride with or reject it. I was happy to take the ride.
    • 87 Metascore
    • 100 Michael Wilmington
    Probing... haunting.
    • 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]
    • 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.
    • 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.
    • 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.
    • 90 Metascore
    • 100 Michael Wilmington
    Some movies delight you. Some stimulate and provoke. Some enlighten and inform. And some simply hand you a rousing good time-- does all of that and more.
    • 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.
    • 84 Metascore
    • 100 Michael Wilmington
    If you haven't gotten hooked already on Michael Apted's series--collectively, one of the great documentaries in the history of the cinema--you should prepare yourself for the latest installment, 49 Up.
    • 72 Metascore
    • 100 Michael Wilmington
    A peach of a story delightfully imagined by Dahl and lushly realized by Burton. It's full of witty or awesome scenes, flights of fancy and characters either totally, lovably sweet or outrageously, humorously rotten.
    • 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
    • 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.

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