Michael Wilmington
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For 1,275 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 13.2 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Patton
Lowest review score: 0 Chaos
Score distribution:
1,275 movie reviews
    • 32 Metascore
    • 50 Michael Wilmington
    A pretty good film, acted powerfully .
    • 32 Metascore
    • 50 Michael Wilmington
    The movie doesn't deserve any of the talent bestowed on it, from Reiner's amiable direction to the occasional grace notes in the performances of Hudson, Marceau and David Paymer.
    • 32 Metascore
    • 50 Michael Wilmington
    Soft and predictable -- which might be OK if there were more laughs and insight.
    • Chicago Tribune
    • 32 Metascore
    • 50 Michael Wilmington
    Keith -- a consistent hit-maker who wrote the controversial 9/11 song "Courtesy of the Red, White and Blue" -- has a future in movies if he wants it. Hopefully, they'll be better ones than this.
    • 31 Metascore
    • 38 Michael Wilmington
    The movie suffers from a devastating flaw for a comedy: It isn't very funny.
    • 31 Metascore
    • 63 Michael Wilmington
    A comedy of bad manners with many punchy moments and many irritatingly glib ones.
    • 31 Metascore
    • 50 Michael Wilmington
    More an uninspired letdown than a flabbergasting turkey... One reason for this lack of bite lies in the werewolves themselves. They're a bit too teddy-bearish, even oddly cuddly, and the fright scenes work better when you don't see much of them.
    • 31 Metascore
    • 25 Michael Wilmington
    A big techno-dud.
    • Chicago Tribune
    • 31 Metascore
    • 50 Michael Wilmington
    It would take the dark wit of a Billy Wilder or a Coen brother--or at least a Neil Simon--to put across this kind of material.
    • 31 Metascore
    • 63 Michael Wilmington
    It's dispiriting to see Jolie wasting herself (and a good supporting cast) on a story that requires little more than an average pretty actress who can wear clothes well and laugh and cry on cue.
    • 31 Metascore
    • 38 Michael Wilmington
    It's a glossy, well-mounted, slickly done but almost stuporously predictable affair, both formula-bound and utterly illogical.
    • 31 Metascore
    • 50 Michael Wilmington
    Lawrence and Zahn generate enough comic tension and mayhem to jump-start this mass of action-comedy cliches into a fairly amusing show.
    • 31 Metascore
    • 63 Michael Wilmington
    By turns brilliant and simplistic, moving and preposterous, the movie takes one of the ultimate hot-button American issues -- the morality of capital punishment -- and dissolves it into a volatile mix of psychological thriller and socio-political fable.
    • 30 Metascore
    • 38 Michael Wilmington
    Cheerful but mind-numbing.
    • 30 Metascore
    • 38 Michael Wilmington
    Outrageously vapid and overdone movie.
    • 30 Metascore
    • 63 Michael Wilmington
    Has the unfortunate effect of overtipping the dramatic scales in favor of the Southern generals and turning almost everybody into waxen idols who spout flowery rhetoric.
    • 30 Metascore
    • 38 Michael Wilmington
    In White Noise, Hollywood and Michael Keaton try to make a decent thriller out of ghosts in the machine but come up with lousy reception and static.
    • 30 Metascore
    • 50 Michael Wilmington
    The movie goes too far on too little motivation - and the middle section, with its maggoty villains, roiling skies and native revolts, seems almost barmy. Yet Exorcist: Beginning does score a small victory. It's not as bad as you'd think.
    • Chicago Tribune
    • 30 Metascore
    • 38 Michael Wilmington
    A good-natured but trivial Manhattan romantic comedy.
    • 30 Metascore
    • 50 Michael Wilmington
    A breakthrough for karate comedy king Chan, but not necessarily the kind we've all been waiting and hoping for. It's an ultra-digitized DreamWorks show crammed with elaborate special effects, the kind that physical-stunt specialist Chan has always avoided.
    • 30 Metascore
    • 63 Michael Wilmington
    Never really feels right.
    • 30 Metascore
    • 50 Michael Wilmington
    There's nothing classic about Surviving Eden, even if it is better than reality TV.
    • 29 Metascore
    • 38 Michael Wilmington
    There's almost no reason to see the movie, unless you have no qualms about wasting your time.
    • 29 Metascore
    • 25 Michael Wilmington
    The first half hour of Hot Chick, before the switch, plays like soft-core porno from the '60s. The rest plays like a bad "Saturday Night Live" sketch stretched to the breaking point.
    • 29 Metascore
    • 63 Michael Wilmington
    Tries to blend old film noir and new high-tech thriller styles with only sporadic impact.
    • Chicago Tribune
    • 29 Metascore
    • 38 Michael Wilmington
    It's outrageously stereotypical and weirdly personal, so loonily exaggerated it keeps surprising you.
    • Chicago Tribune
    • 29 Metascore
    • 38 Michael Wilmington
    It's a murky, empty-headed dive into the depths of the Antarctic and the heart of monster movie cliches that leaves you praying for most of the cast to get killed off fast, to put them (and us) out of our misery.
    • 29 Metascore
    • 50 Michael Wilmington
    A bizarre, bloody adventure movie.
    • 29 Metascore
    • 25 Michael Wilmington
    A movie of good intentions and awful results.
    • 28 Metascore
    • 63 Michael Wilmington
    The role sounds like a sentimental trap, but Penn doesn't fall into it. It's a sensational performance, and he illumines a movie that sometimes seems in danger of descending into modish Hollywood political correctness.
    • 28 Metascore
    • 63 Michael Wilmington
    The movie contains its moments, charms and felicities-even its sharp stings of pleasure and pain. [20 May 1994]
    • Chicago Tribune
    • 28 Metascore
    • 63 Michael Wilmington
    There's something light and insubstantial about this movie. It almost floats away as you watch it.
    • 28 Metascore
    • 75 Michael Wilmington
    A daring, entertaining, but somewhat disappointing affair, something of an overreacher despite Lee's usual pyrotechnics and a brilliant cast.
    • 28 Metascore
    • 25 Michael Wilmington
    Mind-numbing sequel to "Pokemon the First Movie."
    • 28 Metascore
    • 50 Michael Wilmington
    Happily was begun as an old-fashioned 2-D "flat" cartoon and then switched by producer John Williams (of "Shrek") and director Paul J. Bolger to 3-D during production. The style finally is an uncomfortable amalgam of both.
    • 27 Metascore
    • 38 Michael Wilmington
    Accomplishes something I would have thought impossible. It made me appreciate its 1994 predecessor, "The Flintstones."
    • Chicago Tribune
    • 27 Metascore
    • 50 Michael Wilmington
    Won't make your day, but it won't kill it either.
    • 27 Metascore
    • 63 Michael Wilmington
    A real sentimental journey -- and luckily they've got both the right director (Darabont) and the right actor to squeeze our heartstrings.
    • Chicago Tribune
    • 27 Metascore
    • 50 Michael Wilmington
    Sometimes funny, often strained comedy.
    • 27 Metascore
    • 38 Michael Wilmington
    A grotesque slumgullion of kung fu, studio schlock and pseudo-Dumas swashbuckling that leaves you longing for Doug Fairbanks --or even Don Ameche and The Ritz Brothers.
    • Chicago Tribune
    • 27 Metascore
    • 50 Michael Wilmington
    With his brazen gifts for mimicry, Eddie Murphy may now be the Peter Sellers of blockbuster toilet comedy movies.
    • 27 Metascore
    • 20 Michael Wilmington
    They've jacked this loud, lame shrieker of a movie up to the highest decibels, both aural and visual, and rammed it in our faces with almost numbing aplomb.
    • 26 Metascore
    • 50 Michael Wilmington
    A neo-noir movie nightmare gone sadly wrong.
    • 26 Metascore
    • 38 Michael Wilmington
    I'd be lying if I said I didn't laugh at some of this--though it's not as funny as Laurel and Hardy as toddlers in "Brats." But I wanted to slap myself whenever I did.
    • 26 Metascore
    • 63 Michael Wilmington
    A cranky failure with brilliant moments.
    • 26 Metascore
    • 38 Michael Wilmington
    An unabashedly bad movie full of cliches, claptrap, fairly good rock 'n' roll and stomach-turning gross-out gags.
    • 26 Metascore
    • 75 Michael Wilmington
    It's crazy, dangerous and sometimes gorgeous: a feast of nuttiness that takes you, for a while, over the edge.
    • 26 Metascore
    • 12 Michael Wilmington
    Phantoms may have sold like hotcakes as a book. But this movie version is a grotesque fiasco, a confoundingly senseless story told with unexciting visuals, cliched dialogue and ear-bashing sounds... Watching it is a truly hellish experience. [23 Jan 1998]
    • Chicago Tribune
    • 25 Metascore
    • 38 Michael Wilmington
    An almost terminally sappy youth romance.
    • Chicago Tribune
    • 25 Metascore
    • 50 Michael Wilmington
    Maybe Georgia Rule should be required viewing for Paris Hilton during her term in the slammer. But not for us.
    • 25 Metascore
    • 38 Michael Wilmington
    A comedy murder mystery gone seriously astray, boasts an immensely talented cast .
    • Chicago Tribune
    • 25 Metascore
    • 63 Michael Wilmington
    All too obvious, all too easy, the sort of tongue-in-chic L.A. comedy that mistakes glibness for high style, heartfelt pop choruses for wisdom.
    • 25 Metascore
    • 50 Michael Wilmington
    A sappy, often absurd disappointment, another would-be inspirational romance that, like Costner's overwrought "Message in a Bottle," is impossible to swallow.
    • 25 Metascore
    • 63 Michael Wilmington
    One of those movies that starts like a house afire, catches you firmly in its narrative grip and then suddenly blows itself out, not really going out with a whimper but with a big, bad, ludicrous bang.
    • 24 Metascore
    • 25 Michael Wilmington
    You have to have faith that kids will recognize a bad movie when it's foisted on them -- and they don't get much worse than The New Guy.
    • 24 Metascore
    • 50 Michael Wilmington
    A big, empty picture full of star turns, artificial energy and jokes that don't quite work, even if stars Willis and Perry do their best to slam them across.
    • 24 Metascore
    • 38 Michael Wilmington
    A fast, slick, outlandish fiasco that starts out well and then seems to drop right off a cliff.
    • 24 Metascore
    • 38 Michael Wilmington
    Turturro is the one thing that's right with the movie. Perhaps the weakest thing about the new "Deeds" is its utter lack of a strong viewpoint and real emotion.
    • 23 Metascore
    • 38 Michael Wilmington
    It's a movie that puts Samuel Jackson in kilts, Robert Carlyle in a red Jaguar, and the audience -- if they have any sense at all -- out in the lobby, looking for another picture.
    • 23 Metascore
    • 25 Michael Wilmington
    A real stinker. It doesn't have the courage of its own bad taste, or that of its villain.
    • 23 Metascore
    • 38 Michael Wilmington
    What we get, while rarely boring, is a succession of senseless scenes bathed in formula-thriller blue light, full of blazing Uzis, exploding helicopters and sentimental male bonding.
    • 22 Metascore
    • 10 Michael Wilmington
    Sequels to big-budget popular hits usually end up super-slick, shallow and inflated. But this one isn't even super-slick; it's shallow and deflated...The overall effect is of a story atomized and dying before our eyes, collapsing into smashed pulp, ground down into big-budget Kryptonite ash. [27 July 1987, p.1]
    • Los Angeles Times
    • 22 Metascore
    • 38 Michael Wilmington
    Sluggish and preposterous, full of violence and cliches.
    • 21 Metascore
    • 38 Michael Wilmington
    A mind-numbing, bloody, ridiculous experience.
    • Chicago Tribune
    • 19 Metascore
    • 25 Michael Wilmington
    Some movies are a joy. Some are a chore. And some are sheer torture. A good example of the latter is Virus. [17 January 1999, Metro Chicago, p.8]
    • Chicago Tribune
    • 18 Metascore
    • 25 Michael Wilmington
    The political movie satire from hell.
    • Chicago Tribune
    • 18 Metascore
    • 38 Michael Wilmington
    One hopes that this is Hollywood's last go-round with Swept Away. Watching this fiasco, I kept having nightmares about a possible cartoon version, co-starring Cruella de Vil and Shrek.
    • 16 Metascore
    • 10 Michael Wilmington
    The movie is full of phallic gags about little-bitty guns and crude jokes at physical or emotional infirmities. [17 Nov 1989, p.6]
    • Los Angeles Times
    • 14 Metascore
    • 50 Michael Wilmington
    It's hard to create snap-crackling languor or laid-back frenzy. And there's also something condescending in the entire conception of Mixed Nuts. [21 Dec 1994, p.7]
    • Chicago Tribune
    • 14 Metascore
    • 38 Michael Wilmington
    Some movies should never have been made, and high on that list is the addled new remake of Rollerball.
    • 12 Metascore
    • 50 Michael Wilmington
    A smorgasbord of bad ideas, sumptuously over-realized.
    • 9 Metascore
    • 50 Michael Wilmington
    Scientology or not, the movie is a battlefield bummer that makes you want to revolt.
    • Chicago Tribune
    • 9 Metascore
    • 25 Michael Wilmington
    That this bit of pustulence is based on a video game of the same name is no surprise. It explains the thin plot, characters and abundant gunplay.
    • 8 Metascore
    • 10 Michael Wilmington
    Teen Wolf Too embellishes its inane, cookie-cutter plot with remote direction, witless dialogue and charmless characters.
    • 1 Metascore
    • 0 Michael Wilmington
    A loathsome shocker... Watching it almost turned my stomach.