For 1,221 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 14.1 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
Average review score: 73
Highest review score: 100 On the Run
Lowest review score: 0 Chaos
Score distribution:
1,221 movie reviews
    • 75 Metascore
    • 88 Michael Wilmington
    It's a thriller that comes at you with gut-clutching ferocity, spewing blood and sex, shaking you up and scrambling your responses.
    • 65 Metascore
    • 88 Michael Wilmington
    Most of all, it's a film for moviegoers who love powerful stories and ravishing imagery: timeless, eternal, the kind of tales handed from one generation and culture to the next -- and alive in all of them.
    • 68 Metascore
    • 88 Michael Wilmington
    For a film that points out so much wrong with German society and shows such dubious, dangerous behavior, it leaves the audience with high spirits and a sense of crazy exhilaration.
    • 67 Metascore
    • 88 Michael Wilmington
    The poetry of Last Days has a stoned grandeur.
    • 80 Metascore
    • 88 Michael Wilmington
    It's a film for specialized tastes, quiet, delicate. But it suits those tastes beautifully.
    • 65 Metascore
    • 88 Michael Wilmington
    An oddity: an adaptation of a popular novel co-written and directed by the novelist himself. It's also a fine, gentle film love story and a cinematic tribute to the power and manifold benefits of communications between different cultures and nations.
    • 79 Metascore
    • 88 Michael Wilmington
    A dark subject certainly, but in Murray's bouquet-bearing hands, it can still hand us a laugh.
    • 78 Metascore
    • 88 Michael Wilmington
    iIt's a film for art- and foreign-movie devotees. But it's also a movie for audiences who simply want to get turned on.
    • 82 Metascore
    • 88 Michael Wilmington
    Duma, at its best, reminded me exactly why we loved movies as children: because they told stories like this, with images just as rhapsodically colorful and exciting.
    • 70 Metascore
    • 88 Michael Wilmington
    It's a horror movie for aficionados. But it's also for people who don't usually like horror movies at all, who regard them as cheap, crude and over-obvious.There's nothing cheap or crude in Pulse," a fine, shivery movie about the terror of solitude and emptiness.
    • 73 Metascore
    • 88 Michael Wilmington
    The movie itself is as slick, fast and terrifyingly violent as a top-grade American crime thriller, but a lot smarter than most.
    • 80 Metascore
    • 88 Michael Wilmington
    A disturbingly frank look at people and relationships in contemporary Los Angeles and a thrilling dramatic showcase for a brilliant cast.
    • 61 Metascore
    • 88 Michael Wilmington
    In The Weather Man, Nicolas Cage, a great oddball movie star who sometimes takes enormous risks, has a good, risky part again.
    • 81 Metascore
    • 88 Michael Wilmington
    J.K. Rowling's Harry Potter just keeps growing up. So do the Potter movies, in size, in ambition and in visual splendor - and with increasingly stunning results.
    • 82 Metascore
    • 88 Michael Wilmington
    The ending is a stunner. Like those '30 classics it suggests, Gilles' Wife seduces us with true cinematic magic: rich characters, great acting and that rapturous old French blend of realism and theatricality.
    • 68 Metascore
    • 88 Michael Wilmington
    Fast, funny, big-hearted.
    • 60 Metascore
    • 88 Michael Wilmington
    It's a very classy, finely made film, and, as one watches it -- particularly those last sweeping scenes of political turbulence and escape -- one feels both pain at their (Merchant-Ivory) parting and grateful for what, together, they achieved.
    • 57 Metascore
    • 88 Michael Wilmington
    Hallstrom gives us a genial interpretation and a supremely good-humored film.
    • 87 Metascore
    • 88 Michael Wilmington
    It's a work that sears the heart and conscience. The events are annihilating, the way they're told both beautiful and terrifying.
    • 70 Metascore
    • 88 Michael Wilmington
    Shot with a Peter Greenaway-like austere impudence and edited brilliantly (by Jed Parker), this is an entertaining movie, and a moving one--even if, like me, you're not especially fond of these paintings or that scene.
    • 58 Metascore
    • 88 Michael Wilmington
    A contemporary Russian movie that you could honestly call revolutionary, more for its style than its politics.
    • 81 Metascore
    • 88 Michael Wilmington
    A film that art-house audiences in 1959 loved madly. And who can blame them? A buoyant, searingly colorful retelling of the Orpheus and Eurydice myth set in Rio de Janiero, writer-director's Marcel Camus' movie is a romance heightened by its backdrop.
    • 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.
    • 74 Metascore
    • 88 Michael Wilmington
    The power of art to redeem the pain and cruelty of life is demonstrated to enormous effect inShakespeare Behind Bars.
    • 74 Metascore
    • 88 Michael Wilmington
    An extraordinarily truthful and piercing drama.
    • 74 Metascore
    • 88 Michael Wilmington
    A powerful symbolic drama.
    • 77 Metascore
    • 88 Michael Wilmington
    The writer-director doesn't raise her voice, even as she firmly condemns the injustice. Water seduces us with its beauty and sorrow.
    • 73 Metascore
    • 88 Michael Wilmington
    It's a terrific, kinetic experience, and it's also a brilliant showcase for a crackerjack ensemble of great actors.
    • 70 Metascore
    • 88 Michael Wilmington
    A stark, lyrical and affecting portrait of war's aftermath.
    • 73 Metascore
    • 88 Michael Wilmington
    It's one of the most faithful movie adaptations of any Dick story to date, and it comes from the scariest of all his books, as well as the truest.