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
    • 64 Metascore
    • 88 Michael Wilmington
    This magnificent pair are the heart of Techine's film, and the sense of frayed, aging beauty and handsomeness they now carry helps project the picture's main theme: the imperishability of true love.
    • 61 Metascore
    • 88 Michael Wilmington
    Mamet is a writer who turns off some audiences, and almost everything that might bother them is in Edmond: foul language, raging machismo, violence and seemingly bigoted tirades. But almost everything audiences like about him is there too: candor, suspense, ideas, crackling slang, vivid characters.
    • 74 Metascore
    • 88 Michael Wilmington
    A classic of realistic terror, in which passion and murder can't lie buried.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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]
    • 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.
    • 74 Metascore
    • 88 Michael Wilmington
    The kind of movie some audiences are starved for, a comedy with a human face, warmth and spirit.
    • 55 Metascore
    • 88 Michael Wilmington
    Thornton and his excellent company summon up for us the long rides, dangerous companions, rites of passage, the mad love and, most of all, the special relationship between the man/boys that rode over the border and the horses that carried them there.
    • 48 Metascore
    • 88 Michael Wilmington
    A modern digitized lollapalooza concocted out of old-fashioned slam-bang space opera elements.
    • 59 Metascore
    • 88 Michael Wilmington
    These are real characters, fully observed, gutsily written, beautifully acted by the two leads.
    • 75 Metascore
    • 88 Michael Wilmington
    A deliberately old-fashioned picture that succeeds in nearly everything it tries to do.
    • 74 Metascore
    • 88 Michael Wilmington
    About the Israeli-Palestinian conflict, but it treats war as a cosmic joke and its participants as hapless but recognizably human clowns.
    • 68 Metascore
    • 88 Michael Wilmington
    Once again, as love dies and illusions crumble, this natural actress (Isabelle Huppert) shines with human fire. [26 March 1999, Friday, p.B]
    • 74 Metascore
    • 88 Michael Wilmington
    The acting -- especially by Borrows, Ian Hart and Hackett -- is strong and transparent, utterly convincing. The whole movie has a seamless flow and an utterly convincing sense of time and place.
    • 77 Metascore
    • 88 Michael Wilmington
    Harris and Harden have real on-screen sympatico, in their nasty battles and good times alike.
    • 73 Metascore
    • 88 Michael Wilmington
    A beautiful, almost defiant film on an unusual subject: love among the elderly.
    • 79 Metascore
    • 88 Michael Wilmington
    A film that uses beautiful tableaux and convincingly raw actors to build to a climax of shatteringly understated poignancy and power.
    • 74 Metascore
    • 88 Michael Wilmington
    He (Puri) is one of the most consistently excellent film actors that his country - or the world - has produced. And East is East, a grand cultural hybrid, is a real movie, too - raw, funny and wonderfully mixed up.
    • 51 Metascore
    • 88 Michael Wilmington
    It has a jokey irreverence that keeps it from teetering over the edge to absurdity.