Michael Wilmington

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For 1,368 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 10 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Notre musique
Lowest review score: 0 Chaos
Score distribution:
1368 movie reviews
    • 92 Metascore
    • 100 Michael Wilmington
    Magnificent to look at, thrilling, ingenious, spellbinding and superbly done on every level, this is not just one of the best films of the year or the decade, but of all time.
    • 92 Metascore
    • 100 Michael Wilmington
    An extraordinary work, grandly conceived, brilliantly executed and wildly entertaining. It's a hobbit's dream, a wizard's delight. And, of course, it's only the beginning.
    • 91 Metascore
    • 100 Michael Wilmington
    A beautiful picture with a great heart, a classic-to-be with a common touch.
    • 91 Metascore
    • 100 Michael Wilmington
    A landmark movie that becomes a priceless entryway into a distant land and its people, few of whom will ever seem as foreign and far away again.
    • 91 Metascore
    • 100 Michael Wilmington
    One of the most beautiful and profound films to emerge from Japan during the past decade.
    • 91 Metascore
    • 100 Michael Wilmington
    Watching Le Cercle Rouge, we're caught up in a world that, however improbable some of its twists and turns seem, strikes us as a perfect, imaginative creation.
    • 54 Metascore
    • 75 Michael Wilmington
    It's a sordid but expert shocker.
    • 91 Metascore
    • 100 Michael Wilmington
    You may not like Beau Travail - which is, after all, a quintessential "critic's film" - but I think you'll have to admit it's been almost perfectly executed.
    • 91 Metascore
    • 100 Michael Wilmington
    Leigh is an artist not at all blind to the world's darkness and pain. But the generosity and togetherness he and his company show in Secrets and Lies is something the movies -- and the world -- truly need. [25 October 1996, Friday, p.A]
    • Chicago Tribune
    • 91 Metascore
    • 100 Michael Wilmington
    The movie holds up far better than its detractors guessed - splendidly, in fact - not only thanks to Scott's spellbinding acting, but to the epic imagery, Coppola's (and Edmund North's) highly intelligent script and Schaffner's lucid, perfectly controlled direction.
    • 90 Metascore
    • 100 Michael Wilmington
    A movie bull's-eye: noir with an attitude, a thriller packing punches. It gives up its evil secrets with a smile.
    • 90 Metascore
    • 100 Michael Wilmington
    An improbable masterpiece -- a bizarre mixture of grandly operatic visuals, grim brutality and sordid violence that keeps wrenching you from one extreme to the other.
    • 90 Metascore
    • 100 Michael Wilmington
    Badlands is about a landscape as much as the couple fleeing across it. Watching it, you sense that Malick finds his outlaw lovers beautiful and terrible, pathetic and monstrous, funny and overwhelmingly sad. [27 March 1998]
    • 90 Metascore
    • 100 Michael Wilmington
    A watershed picture, for both Spielberg and war movies.
    • 90 Metascore
    • 100 Michael Wilmington
    An amazing celluloid poem by a filmmaker whom Ingmar Bergman called "the greatest." He very nearly was. He was also, perhaps, too pure a creator and reckless a citizen to survive unscathed.
    • 90 Metascore
    • 100 Michael Wilmington
    Masterpiece is the right word for The Sweet Hereafter. It is extraordinary: a poem of familial pain, a song of broken embraces. [25 December 1997, Tempo, p.1]
    • Chicago Tribune
    • 90 Metascore
    • 100 Michael Wilmington
    Some movies delight you. Some stimulate and provoke. Some enlighten and inform. And some simply hand you a rousing good time-- does all of that and more.
    • 90 Metascore
    • 75 Michael Wilmington
    Weird to the max, smart, sneaky as a Wall Street pickpocket and revved up with cruel wit and brazen imagination, Being John Malkovich is a dark movie comedy that you couldn't forget if you tried.
    • Chicago Tribune
    • 90 Metascore
    • 100 Michael Wilmington
    This is a romance with minimal physical contact and sex--and that's part of what makes it work so well as a love story.
    • 90 Metascore
    • 100 Michael Wilmington
    I loved this movie madly, and so will many of you.
    • Chicago Tribune
    • 90 Metascore
    • 100 Michael Wilmington
    It's a scintillating comedy-drama and one of Altman's most richly moving and entertaining pictures.
    • 90 Metascore
    • 100 Michael Wilmington
    Delicately subversive, hypnotically sardonic, full of terror, banality and wafer-thin lyricism.
    • 90 Metascore
    • 100 Michael Wilmington
    Still packs a wallop. It's also a movie with no easy passage to its dark heart.
    • 89 Metascore
    • 100 Michael Wilmington
    A major cinema event of the year, a masterpiece of Italian film traditions in social/political realism and historical family epic.
    • 70 Metascore
    • 75 Michael Wilmington
    Seems small in subject and scope, but it's large in spirit and implication.
    • 89 Metascore
    • 88 Michael Wilmington
    Works beautifully, both as a social and psychological drama and as a taut, tightly wired thriller.
    • 89 Metascore
    • 100 Michael Wilmington
    It's as thrilling and lushly beautiful a movie as has been released all year, matched only by Zhang's epic "Hero." And I think this film is the more powerful.
    • 89 Metascore
    • 88 Michael Wilmington
    Whatever its flaws, Funny Girl is one star vehicle that works perfectly for its subject.
    • 89 Metascore
    • 100 Michael Wilmington
    The most well-loved of all Christmas movies.
    • 89 Metascore
    • 100 Michael Wilmington
    In Jan Campion's The Piano, the emotions are deep, fierce, primordial. Sexuality overwhelms the film's characters like ocean waves blasting against a cliffside. [19 Nov 1993]
    • Chicago Tribune

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