Michael Wilmington

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For 1,386 reviews, this critic has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 9.6 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Before Sunset
Lowest review score: 0 Caddyshack II
Score distribution:
1386 movie reviews
    • 46 Metascore
    • 50 Michael Wilmington
    As silly movies go, this one is at least pretty exciting. But in the end, Typhoon leaves you feeling as exiled from the two Koreas as Sin is.
    • 77 Metascore
    • 60 Michael Wilmington
    In the end, even in the howling high frequencies and the nihilistic night, this R-rated movie misses its best shot. It doesn't talk hard enough. [22 Aug 1990, p.5]
    • Los Angeles Times
    • 73 Metascore
    • 50 Michael Wilmington
    Boyle's new movie is mostly a zombie fiasco, closer to the vacuities of "The Beach" than the scintillating social satire of "Trainspotting."
    • 73 Metascore
    • 50 Michael Wilmington
    A light, breezy, often charming little film, with a good cast playing mostly shallow characters.
    • Chicago Tribune
    • 70 Metascore
    • 50 Michael Wilmington
    A bright and zippy, but alarmingly over-campy and lighter-than-fluff cartoon feature.
    • Chicago Tribune
    • 70 Metascore
    • 50 Michael Wilmington
    Freaky Friday commits a lot of sins; luckily, it has Curtis and a few others to cover them up.
    • 70 Metascore
    • 50 Michael Wilmington
    For all Ricci's zingers, the actress who gets the most laughs here is Kudrow, who has an amazingly right-on offbeat comic sense and rhythm. Playing a bright, sexually repressed Indiana teacher, she displays priceless timing. [19 June 1998]
    • Chicago Tribune
    • 68 Metascore
    • 50 Michael Wilmington
    Drably shot, unimaginatively written and shallowly acted, it's a poor example of the "daffy, goofy, sex-crazed guys" occupational comedies that flourished throughout the job-obsessed '80s. [19 Feb 1999]
    • Chicago Tribune
    • 67 Metascore
    • 50 Michael Wilmington
    At bottom, Lethal Weapon isn't much. It's a big, shallow, flashy, buddy-buddy cop thriller; it attacks you like a stereophonic steamroller, flattening everything behind it. Snatches of "Hustle" "Magnum Force" and "48 HRS." float above this plot like scum on a polluted lake, and the holes in logic and mindless climax are (or should be) embarrassing. [6 Mar 1987, p.4]
    • Los Angeles Times
    • 67 Metascore
    • 50 Michael Wilmington
    To say Enemy of the State is senseless is an understatement. This is a movie where logic is the enemy.
    • 66 Metascore
    • 50 Michael Wilmington
    At its best, Transamerica made me laugh and feel for Bree. At its worst, it made me cringe at the potential creepiness of its central relationship.
    • 65 Metascore
    • 50 Michael Wilmington
    The film's triple thesis is that elections are run badly, Democrats are often clueless and Republicans are clever. Maybe--but that still leaves too many unanswered questions.
    • 65 Metascore
    • 50 Michael Wilmington
    There's too much hardware, too little sense. Too much blood, too little flesh. Too much program, too little mind. That's the virus of the contemporary movie techno-thriller.
    • 64 Metascore
    • 50 Michael Wilmington
    It's fairly entertaining--but not the second coming of indie comedy some notices might lead you to expect.
    • 63 Metascore
    • 50 Michael Wilmington
    Fessenden cooks up a likably offbeat horror movie. But somehow, it never jells, never really scares us.
    • 63 Metascore
    • 50 Michael Wilmington
    A tasteful, intelligent, well-acted film about one of the most ghoulish serial killers in American crime history - and I'm afraid that's a good part of what's wrong with it.
    • 63 Metascore
    • 50 Michael Wilmington
    In a weird way, what happens to the kids is what happens to the movie. The humans shrivel to crawling piffles or get deformed into caterwauling robots; the super-tall grass and the giant cookies and insects take over.
    • 63 Metascore
    • 50 Michael Wilmington
    Spectacular, fast, never boring. But it's also one of the more disappointing movies I've seen recently.
    • 63 Metascore
    • 50 Michael Wilmington
    It's a bizarre but engaging fling.
    • 63 Metascore
    • 60 Michael Wilmington
    Midway through The Lost Boys there's a brief scene that suggests the magic and power it could have had. This scene suggests a fable of seductive evil-but nothing in the movie is ever half as evocative again. It's more lost than the Boys: a glossy fiasco with most of the real blood sucked out of it.
    • Los Angeles Times
    • 62 Metascore
    • 50 Michael Wilmington
    For all its glitz and gadgets, is markedly inferior in everything but teen appeal.
    • 62 Metascore
    • 60 Michael Wilmington
    London's Fang was, fundamentally, a loner and a killer; the movie Fang is a big, friendly dog, temporarily derailed into the fight game by snarling villains. That makes this White Fang, rather oversunny, overaffirmative, primarily a movie for children. But I liked it anyway, despite the softened tone, the coincidences, despite Hawke's constantly gaping mouth.
    • 62 Metascore
    • 50 Michael Wilmington
    A comedy that seems to have most everything going for it but the ability to make us laugh.
    • 61 Metascore
    • 50 Michael Wilmington
    There are some premises that absolutely aren't going to work--no matter how much intelligence, talent or craft the film makers bring to them. And Marshall Brickman may have stumbled onto such a premise in The Manhattan Project.
    • 61 Metascore
    • 50 Michael Wilmington
    This seems to be a movie made by people who love the old classic movie swashbucklers but don't have a clue how to make or modernize them.
    • 61 Metascore
    • 50 Michael Wilmington
    Bad as the overall design remains, individual scenes keep sparking alive, partly because the dialogue, or delivery, seems fresh, and improvisatory; partly because Van Peebles, in his directorial debut, figures out unusual or athletic camera designs for every scene. It's obvious he has talent, equally obvious there's no way this story can work right, no matter how strenuous the staging.
    • 61 Metascore
    • 50 Michael Wilmington
    This one's worth the ticket price only if you are a showbiz-aholic.
    • Chicago Tribune
    • 60 Metascore
    • 50 Michael Wilmington
    Slickly produced, well cast and very excitingly made, it's based on plot hooks so silly, most of them blow up in your face.
    • 60 Metascore
    • 50 Michael Wilmington
    Beyond some well-observed sibling interaction, the mutual effort of four writers is mutually uninspired. Whoever wrote the episodes between hot-to-trot Jojo (Taylor) and her balky boyfriend Bill (D'Onofrio) should be ashamed. [21 Oct 1988]
    • Los Angeles Times
    • 59 Metascore
    • 50 Michael Wilmington
    By creating a kind of politically correct version of Andy Griffith's "Mayberry," director Bezucha has drained the movie not only of bigotry but also of dramatic conflict.
    • Chicago Tribune

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