Michael Wilmington

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For 1,282 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 12.5 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 The Best of Youth
Lowest review score: 0 Chaos
Score distribution:
1282 movie reviews
    • 58 Metascore
    • 50 Michael Wilmington
    I found nothing likable or funny about either of these characters, who both deserve a pie in the face. (One of them even gets it.)
    • 57 Metascore
    • 50 Michael Wilmington
    A modernized version of that great sentimental horse movie, 1943's "My Friend Flicka," and it comes with the shiny trappings, high professionalism and glamorous accessories you might expect...Something is missing though.
    • 57 Metascore
    • 50 Michael Wilmington
    It's a nice little film, likable but not exceptional, and it will probably appeal most strongly to actors, would be-actors, wannabes and ex-actors.
    • Chicago Tribune
    • 57 Metascore
    • 50 Michael Wilmington
    The results aren't gothic and bloody, as they were in the Lauren Bacall film "The Fan," or elegant and ironic as in the Bette Davis classic "All About Eve"--though the plot suggests a bit of both.
    • 57 Metascore
    • 50 Michael Wilmington
    Weighed down by the presence of Griffith. She plays her satiric part without much gusto or conviction - as if she were afraid we might believe she really is Honey.
    • Chicago Tribune
    • 56 Metascore
    • 60 Michael Wilmington
    Like the movies its modeled after, it's shallow, frequently silly. But there's something about the mix--maybe something about Parillaud as the screechy, dangerous Nikita--that may make the movie a powerful engine of wish-fulfillment. [12 Apr 1991, Calendar, p.F-10]
    • Los Angeles Times
    • 56 Metascore
    • 50 Michael Wilmington
    Tries for both civilized wit and primitive joy -- and mostly misses both.
    • 56 Metascore
    • 50 Michael Wilmington
    This is a picture in which the barf scenes standard in the usual crude youth comedies aren't gratuitous. They're logical climaxes.
    • 56 Metascore
    • 50 Michael Wilmington
    Minimalism be damned; even a postmodern noir needs more than Minus Man gives us. So do the actors.
    • 55 Metascore
    • 50 Michael Wilmington
    Does have heart and enthusiasm. But it might have worked better if it had been glitzed up and energized the way "Fame" was. It's not a script that can survive this kind of minimal, earnest, self-congratulatory treatment.
    • 55 Metascore
    • 50 Michael Wilmington
    This romantic-comedy action movie is a fizzle.
    • 55 Metascore
    • 50 Michael Wilmington
    A commendably brave piece, but less focused and powerful than you'd like. In the end, Garapedian might have been better off concentrating her energy on the 1915 Armenian story--which has been told on film various times (for example, in "Forty Days of Musa Dagh" and Atom Egoyan's "Ararat"), but never with the power of, say, "The Pianist" or "Schindler's List."
    • 54 Metascore
    • 50 Michael Wilmington
    A wildly expensive movie full of computers, nonsense and violence, a film where wit, romance, elegance -- everything -- is sacrificed on the altar of giganticism, cliche and over-the-top action.
    • 53 Metascore
    • 50 Michael Wilmington
    Hobbled with pedestrian direction, a dull visual style and a last act awash in obvious bang-bang melodrama.
    • 53 Metascore
    • 60 Michael Wilmington
    Most of the rest of this Hamlet effective or lovely as parts of it may be, just keeps sawing at the air in a drafty hall and pouring all its light on Mel Gibson and his angelic stubble. [18 Jan 1991]
    • Los Angeles Times
    • 53 Metascore
    • 50 Michael Wilmington
    It's one of those fast, slick, half-smart shows that can't decide whether to pay its debts to action or reality -- and winds up cheating both.
    • 53 Metascore
    • 50 Michael Wilmington
    At least Reno is around -- and he's the only spice in this stale, slick stew
    • 53 Metascore
    • 50 Michael Wilmington
    This pretty but witless movie is well-produced, slickly directed -- full of jokes about hot dudes and hot babes pitched right at the "American Pie" crowd.
    • 52 Metascore
    • 50 Michael Wilmington
    An irritation, more fizzle than sizzle.
    • 52 Metascore
    • 50 Michael Wilmington
    May be the only movie in recent memory unworthy of its own genuinely hilarious Web site, www.finemanfilms.com.
    • 52 Metascore
    • 50 Michael Wilmington
    When the crashing chords and defiant lyrics of "Be the Rain" close things out, there's a burst of idealism and energy that redeems everything. If you see Greendale, treat the movie charitably and dig the music.
    • 52 Metascore
    • 50 Michael Wilmington
    As sports movies go, Gridiron Gang isn't bad, just not top-line material.
    • 52 Metascore
    • 50 Michael Wilmington
    Should please its core audience, which includes anyone who might actually want to win a date with Tad Hamilton. Others may opt to wait for another date with Kate Bosworth -- or Nathan Lane.
    • 51 Metascore
    • 50 Michael Wilmington
    A funny movie, but like "Josh" himself, it's too self-absorbed, and maybe too nice, for its own good.
    • 51 Metascore
    • 60 Michael Wilmington
    The best thing about High Heels are the performances - [Victoria Abril]'s tense, voracious daughter, Parades' star-turn mother, the sinister Bose, the arrogant Atkine - and the lucidity of Almodovar's narrative style, which by now seems as natural as breathing. [20 Dec 1991]
    • Los Angeles Times
    • 51 Metascore
    • 50 Michael Wilmington
    Irwin Winkler's The Net, which should have worked a lot better than it does, is a glossy, intricately plotted, mostly implausible suspense movie about a woman on the run.
    • 51 Metascore
    • 50 Michael Wilmington
    Like its title heroine, it's sparkly, pretty and flirty--but often all wet.
    • 51 Metascore
    • 60 Michael Wilmington
    The movie is like a big, smug, sunny ball of fluff, batting around in a crystalline cage. It's bright and well-meaning, but there's little to grab onto or feel. Not even the presence of those expert actor/farceurs, Steve Martin and Diane Keaton, give it any real presence or bite. [20 Dec 1991, p.16]
    • Los Angeles Times
    • 50 Metascore
    • 50 Michael Wilmington
    Though the story is potentially fascinating and the visuals sometimes spellbinding, the movie itself is stranded in the purgatory of the second-rate.
    • 50 Metascore
    • 50 Michael Wilmington
    A lively little Australian rock movie hamstrung and sunk by one of the least successful story ideas I've seen recently.

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