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 Lawrence of Arabia (re-release)
Lowest review score: 0 Chaos
Score distribution:
1,275 movie reviews
    • 77 Metascore
    • 88 Michael Wilmington
    Harris and Harden have real on-screen sympatico, in their nasty battles and good times alike.
    • 77 Metascore
    • 75 Michael Wilmington
    A hip, funny, knowing romantic sports comedy that gets a little strained when it tries to expose its heart. [13 December 1996, Friday, p.A]
    • Chicago Tribune
    • 77 Metascore
    • 75 Michael Wilmington
    Flaws and all, it really does show a star being born.
    • 77 Metascore
    • 100 Michael Wilmington
    Though it's a sad, somber, deeply questioning work, it's done with a light, loving spirit.
    • 77 Metascore
    • 100 Michael Wilmington
    A near-classic blend of mystery, personality, humor and terror, laced with one stunning shock after another. [18 August 1995, Friday, p.C]
    • Chicago Tribune
    • 77 Metascore
    • 100 Michael Wilmington
    The cast is tremendous; these actors work with Resnais like a well-oiled stock company that knows every trick and can communicate almost telepathically.
    • 77 Metascore
    • 88 Michael Wilmington
    It's sensuality with a stinger, and Fat Girl is an adolescent sex drama that takes no prisoners.
    • 77 Metascore
    • 88 Michael Wilmington
    A harsh, spellbinding tale.
    • 77 Metascore
    • 100 Michael Wilmington
    The kind of brilliantly weirdo picture that, by all rights, shouldn't have gotten made at all but this time, miraculously, was.
    • 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
    • 77 Metascore
    • 75 Michael Wilmington
    The first hit movie western of the new century - wins us with a wink. It leaves you in a bright, happily cross-cultural mood. Adios, amigos. And vaya con Jackie Chan.
    • 77 Metascore
    • 75 Michael Wilmington
    A stark, painful drama about pregnancy--a subject rarely treated this fully, candidly or tragically.
    • 77 Metascore
    • 88 Michael Wilmington
    The writer-director doesn't raise her voice, even as she firmly condemns the injustice. Water seduces us with its beauty and sorrow.
    • 77 Metascore
    • 88 Michael Wilmington
    This is a movie that doesn't depend for its effects on star performers or stylized wish-fulfillment sexuality but on realism, sharp observation and honest humor.
    • 77 Metascore
    • 88 Michael Wilmington
    Delighted me like few films I've seen recently. It's a sexy, sweet, sumptuously entertaining movie about the huge and wildly eventful wedding reception.
    • 76 Metascore
    • 100 Michael Wilmington
    A movie about the passions of simple people, and it's done with such extraordinary empathy and commitment that it all but pulls you under. [29 November 1996, Friday, p.A]
    • Chicago Tribune
    • 76 Metascore
    • 88 Michael Wilmington
    So intense and warm are Leigh's feelings for his characters, that we may remember Hannah and Annie long afterward as old friends -- imperfect yet lovable, pals with whom we've suffered and laughed a lot.
    • 76 Metascore
    • 88 Michael Wilmington
    Grosse Pointe Blank is covering the same kind of territory as that elephantine, if exciting, 1994 family man-killer thriller, "True Lies." But this time, the joke stings. [11 April 1997, Friday, p.A]
    • Chicago Tribune
    • 76 Metascore
    • 88 Michael Wilmington
    Watching this film wakes you up; it is a window on an Iran and an Afghanistan we should have taken account of long ago -- seen though a master's eye, felt through a poet's touch.
    • 76 Metascore
    • 88 Michael Wilmington
    A fine, exciting film that makes a bloody historical event live all over again by showing it through the eyes of children on the edges of the conflict.
    • 76 Metascore
    • 88 Michael Wilmington
    A love-hate poem to L.A., and when Mann takes in the streets, the freeways and LAX, he doesn't give us shiny "Lethal Weapon"-style travelogues. He shows us an L.A. that's grim, bare, a bit smoggy and ruled by street smarts. [15 Dec 1995]
    • Chicago Tribune
    • 76 Metascore
    • 75 Michael Wilmington
    May strike some audiences as even more real than Kiarostami's work, because the story is so luminously open. Watching it, we enter, without barriers, a world.
    • 76 Metascore
    • 75 Michael Wilmington
    Few sports films catch their time, place and sport so well. For skateboard fans, this is a must. But it's also a great ride if you know nothing about the sport or what it meant. At the end of this movie, you will.
    • 76 Metascore
    • 75 Michael Wilmington
    Playing a role of almost Bergmanesque intensity -- a tough, lonely woman dying of cancer as she examines her past -- Bisset is both convincing and radiant.
    • 76 Metascore
    • 100 Michael Wilmington
    It's a magical film which manages to transport and rivet us in the same highly-imaginitive, breezily playful way "Amelie" did.
    • 76 Metascore
    • 88 Michael Wilmington
    One of the most remarkable English-language feature debuts of recent years.
    • Chicago Tribune
    • 76 Metascore
    • 63 Michael Wilmington
    One funny movie - for at least half the time.
    • 76 Metascore
    • 75 Michael Wilmington
    It's good, but not great -- despite the heights to which Dench and Broadbent drive it. But those heights are lofty, the pain still stings.
    • 76 Metascore
    • 80 Michael Wilmington
    In the years since he first played Drebin, Nielsen has deepened the role, made it more subtle, more universal, more paramount. He's brought out an almost preternatural mellowness in a character who began as a relatively uncomplicated dimwit. [2 Dec 1988]
    • Los Angeles Times
    • 76 Metascore
    • 75 Michael Wilmington
    Brilliant performances by DiCaprio as Frank Jr. and Christopher Walken as his fallen father - and an enjoyable one by Tom Hanks.