Michael Wilmington
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For 1,276 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 The Flower of Evil
Lowest review score: 0 Chaos
Score distribution:
1,276 movie reviews
    • 80 Metascore
    • 88 Michael Wilmington
    This is a movie with every facet shining in place, every word charged and resonant. [23 Sept 1994]
    • Chicago Tribune
    • 80 Metascore
    • 88 Michael Wilmington
    Two suggestions as you watch it: Never take anything for granted, and keep your hand on your wallet as you leave the theater.
    • 80 Metascore
    • 100 Michael Wilmington
    It's a shining valentine to the movies--full of homages, collages and swooningly romantic Ennio Morricone music--and it gets right at the messy, impure, wondrous way they capture and enrapture us. [16 February 1990, Calendar, p.F-1]
    • Los Angeles Times
    • 80 Metascore
    • 100 Michael Wilmington
    If it's not an actual masterpiece, it's at least the next best thing, a fully characteristic, fully alive work by a master of his art.
    • 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.
    • 80 Metascore
    • 88 Michael Wilmington
    The tone and feel of Wild Reeds keeps shifting between irony and sentimentality, violence and tenderness, rebellion and acceptance. And those oscillations fit the volatile nature of its subject: young love and friendship. Together with his attractive and excellent cast, Techine recalls and invokes the mood swings of youth, the intensity and bursts of near-delirious passion.
    • 80 Metascore
    • 88 Michael Wilmington
    You probably won't find two more fascinating camera subjects, two livelier conversationalists or two richer, more rewarding, more engaging and inspiring companions in any movie, fiction or non-fiction, this year.
    • 80 Metascore
    • 100 Michael Wilmington
    Perfect for anyone with a youthful heart and a rich imagination.
    • 80 Metascore
    • 75 Michael Wilmington
    Shows us a filmmaker, unafraid of her emotions, unafraid to mine her past, someone clear-eyed, non-egoistic, full of life and warmth.
    • 80 Metascore
    • 88 Michael Wilmington
    A noir with a smile, and after all these years, its deft mixture of darkness and light still makes us smile.
    • 80 Metascore
    • 100 Michael Wilmington
    May show both director and star working at their professional peaks, but I don't think it's as good as that underappreciated masterwork "A.I." It's not as resonant and daring, not as full of magic and marvel. Spielberg stretches himself technically here but not emotionally.
    • 79 Metascore
    • 75 Michael Wilmington
    Brimming over with affection and humanity, this memory drama about the destruction of one family and the birth of another is nostalgic in a good sense: funny, bittersweet, poignant.
    • 79 Metascore
    • 88 Michael Wilmington
    Not too many actors last year bettered or equaled Beatty and Schreiber here, separately or (better yet) together. It's a pleasure and a privilege to watch them work.
    • Chicago Tribune
    • 79 Metascore
    • 88 Michael Wilmington
    Not a striking film visually. It's deliberately plain looking, focused on the appalling events with an almost documentary immediacy.
    • 79 Metascore
    • 100 Michael Wilmington
    A spectacular, engrossing, big-hearted film based on one of Korea's great national epics and made by that country's top filmmaker.
    • Chicago Tribune
    • 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.
    • 79 Metascore
    • 100 Michael Wilmington
    Some movies can lay claim to being the best thing around in a week, a month, a year. Robert Altman's Short Cuts is closer to being one of the all-time bests, among the finest American films since the advent of sound. [22 Oct 1993]
    • Chicago Tribune
    • 79 Metascore
    • 88 Michael Wilmington
    This hip, highly partisan biography of Dr. Alfred C. Kinsey is a surprisingly entertaining movie about the perils of studying sexual behavior in a sexually uptight culture--our own.
    • 79 Metascore
    • 100 Michael Wilmington
    If all this potent drama recalls Bergman, the beautifully articulated staging and setting suggest that master of operatic social-sexual drama, Luchino Visconti ("The Leopard").
    • 79 Metascore
    • 75 Michael Wilmington
    Finally, the film answers a question that obviously haunts Nachtwey: Is it immoral, callous or irresponsible to win fame and recognition from images of the terror, death and suffering of others?
    • 79 Metascore
    • 88 Michael Wilmington
    A dark subject certainly, but in Murray's bouquet-bearing hands, it can still hand us a laugh.
    • 79 Metascore
    • 75 Michael Wilmington
    Another of his (McElwee) beguiling "personal chronicle" movies.
    • 79 Metascore
    • 88 Michael Wilmington
    There's a gentleness and open-mindedness in that touch and throughout the film that's a little at odds with the shallower script. But, in the end, that humanity pays. [27 Dec 1996]
    • Chicago Tribune
    • 79 Metascore
    • 88 Michael Wilmington
    A witty and psychologically perceptive look at the Parisian literary scene.
    • 79 Metascore
    • 75 Michael Wilmington
    As a ride, this Tarzan succeeds. As a pop myth, it needs more jungle fever. [18 June 1999, Friday, p.A]
    • Chicago Tribune
    • 79 Metascore
    • 100 Michael Wilmington
    82-year-old Ingmar Bergman takes one of the most painful, shameful episodes of his own life and, writing for director Liv Ullmann, transmutes it into magical, brilliant artistry.
    • Chicago Tribune
    • 79 Metascore
    • 88 Michael Wilmington
    You will not forget The Piano Teacher. Nor will you forget Isabelle Huppert, a brave, brilliant actress who here plays her masterpiece.
    • 79 Metascore
    • 75 Michael Wilmington
    The movie, in the end, is devastating because of the banality it reveals, and because its terseness and plainness cut a mass killer down to size.
    • 79 Metascore
    • 80 Michael Wilmington
    Commands respect and affection. [2 June 1989, Calendar, p.6-1]
    • Los Angeles Times
    • 79 Metascore
    • 90 Michael Wilmington
    There's a muscular sincerity to this movie, a power and spread to its imagery that triumphs over the occasional candied purple patches or strained plot twists. [16 Jul 1993 Pg. F1]
    • Los Angeles Times

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