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 Talk to Her
Lowest review score: 0 Chaos
Score distribution:
1,275 movie reviews
    • 55 Metascore
    • 75 Michael Wilmington
    Sometimes thrilling, sometimes suffocatingly tasteful adaptation of Stephen King's 1999 novel.
    • Chicago Tribune
    • 60 Metascore
    • 75 Michael Wilmington
    It's the kind of copycat movie that becomes original through its cast and treatment.
    • 68 Metascore
    • 75 Michael Wilmington
    It's an entertaining picture, classy and well executed, but as much as any film I've seen recently, this lush new version of the 1969 Michael Caine thriller tends to prove that, where thrillers are concerned, "more" is often less.
    • 57 Metascore
    • 75 Michael Wilmington
    Avoid it if you object to seeing people devoured by wolves, but see it if you want to howl at the moon.
    • Chicago Tribune
    • 71 Metascore
    • 75 Michael Wilmington
    The movie, a keen look at the way passion unravels and obsession destroys, creates a black mood, a sense of truth and an enduring chill that stay with you.
    • 75 Metascore
    • 75 Michael Wilmington
    The movie -- simple, pure and powerful -- makes us feel the intensity of both life in transit and life lived, if only for a moment, in another's skin.
    • 65 Metascore
    • 75 Michael Wilmington
    Solaris, an exploration of outer space and inner anguish, reminds us that science fiction can embrace adult ideas and human drama as well as technology and futuristic action.
    • 67 Metascore
    • 75 Michael Wilmington
    A horror movie with a Hitchcockian veneer of the everyday, a story that taps into our fear not only of the paranormal but also of insanity and the secret evil that may lie beneath ordinary lives.
    • 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
    • 60 Metascore
    • 75 Michael Wilmington
    Red Dragon is very much a product, and a superior one, of our times. So is Anthony Hopkins' top-notch fiend, the bad doctor.
    • 88 Metascore
    • 75 Michael Wilmington
    What I did like unreservedly was the acting. Enid, as enacted by the sometimes astonishing Birch, is one of the more convincing, no-nonsense teens in recent movies.
    • 70 Metascore
    • 75 Michael Wilmington
    Immersed here in both the fair, dreamy air and chilly, deeper waters, Rampling and Sagnier make Swimming Pool a fine sunlit noir, oozing sensuality and menace.
    • 47 Metascore
    • 75 Michael Wilmington
    Beside its major virtues, it contains a vice: that one flat lead performance. Who would have thought Kevin Spacey would ever go dull on us?
    • 60 Metascore
    • 75 Michael Wilmington
    It's a fast, funny picture, and the worst thing you can say about it is that it's no "Toy Story," no "Shrek." That may be true, but one thing Ice Age proves is that the new digitized cartoons are a form whose time has come.
    • 40 Metascore
    • 75 Michael Wilmington
    Though the film falls short of its aspirations, there's something magical about it. It's a poetic look at transience, betrayal, loss and doom.
    • Chicago Tribune
    • 64 Metascore
    • 75 Michael Wilmington
    It's a film that is mystifying and haunting -- a cool, brotherly vision of the last day and the coming flood, of American dreams and the vanishing frontier.
    • 61 Metascore
    • 75 Michael Wilmington
    This movie is a model of technique, beautifully crafted, often brilliantly acted by Cage and the others, but it's a bit hollow at the center.
    • 64 Metascore
    • 75 Michael Wilmington
    Unlike almost every other sexy modern thriller (especially most recent studio blockbusters), this one gives you a lot to think about.
    • 55 Metascore
    • 75 Michael Wilmington
    Sayles accomplishes another of his coups here. Eschewing all sentiment, avoiding all pathos, keeping his film and most of the women hard as nails, he manages to tell a compelling story.
    • 59 Metascore
    • 75 Michael Wilmington
    Has what we usually want to see in movies like this: bravura action, tongue-in-cheek humor, but most of all attitude.
    • 43 Metascore
    • 75 Michael Wilmington
    Fast and frenetic and so unvarnished that it can make you feel unclean watching it. The film rubs your face in glamour and filth. But in the midst of the blood and hysteria, Kilmer plays Holmes with the dirty-angelic looks and wheedling charm of a seedy golden boy on the brink of doom.
    • 83 Metascore
    • 75 Michael Wilmington
    A unique portrait of modern crime and punishment, gives us terror without filters, a tragic event captured in all its initial immediacy and anguished aftermath.
    • 70 Metascore
    • 75 Michael Wilmington
    In a movie that dwells so wittily and movingly on forgiveness, you have to grant pardon. Clarkson alone makes "April" a feast.
    • 46 Metascore
    • 75 Michael Wilmington
    The movie has a nasty, creepy edge that never lets up, and the characters are deliberately grating and alienating. This is a thriller that, like some classic noirs, glories in its own mean aura, its casual profanity and grotesque violence.
    • 70 Metascore
    • 75 Michael Wilmington
    The characters need more exploration, especially the killers. Yet this look at teen life and death chills you anyway.
    • 77 Metascore
    • 75 Michael Wilmington
    A film driven by an elusive plot buried like a cryptogram under the action. It's a delightfully screwy ethnographic murder mystery, beautifully photographed in translucent naturalistic color.
    • 55 Metascore
    • 75 Michael Wilmington
    May fall short of its great model, "Seven Samurai" (almost all action movies do), but it's miles ahead of most of the gadget-ridden adventure epics around now.
    • 66 Metascore
    • 75 Michael Wilmington
    Doesn't always sizzle, but its stars do.
    • 74 Metascore
    • 75 Michael Wilmington
    I don't think it's a great movie -- though Theron's is a near-great performance -- but it's not one you can easily forget.
    • 61 Metascore
    • 75 Michael Wilmington
    A wry romantic comedy set among Bruno's targets, the Grenoble bourgeois.
    • 42 Metascore
    • 75 Michael Wilmington
    Like the frosty tropical drinks the people keep sipping here, it's refreshing and icy-cool, a sinful pleasure mixed by experts.
    • 75 Metascore
    • 75 Michael Wilmington
    The movie's gentle humor and offbeat whimsy prove that humanity trumps bureaucratic foolishness, in Norway or anywhere else.
    • 68 Metascore
    • 75 Michael Wilmington
    It's a tasty but evasive treat, no matter what your taste in politics or movies.
    • 75 Metascore
    • 75 Michael Wilmington
    This young writer-director's film seems more real and more moving than many recent political dramas from the Middle East - on either side.
    • 59 Metascore
    • 75 Michael Wilmington
    May be the most fascinating, richly accomplished screw-up you'll see all year. Von Trier, who has always had a talent for provocation, nails another heroine to the cross while playing his role to the hilt - a moviemaking rebel in his own dog days.
    • 71 Metascore
    • 75 Michael Wilmington
    It's a funny-sad portrait of fame and its junkies, and of an era and its music.
    • 78 Metascore
    • 75 Michael Wilmington
    It's a work for specialized tastes: for audiences who adore old movies, dark jokes and some high camp.
    • 35 Metascore
    • 75 Michael Wilmington
    A movie that's underwritten, overdirected, overproduced and almost constantly over-the-top. But it's also, at its best, a big tongue-in-cheek extravaganza.
    • 72 Metascore
    • 75 Michael Wilmington
    Self-absorption is the vice of all these characters. That, not sex, is their sin--and Michell, Kureishi and their fine cast show this with a lucidity that cuts to the bone, a candor that draws blood.
    • 73 Metascore
    • 75 Michael Wilmington
    It's good stuff: a non-fiction film on weighty issues that also manages to entertain.
    • 71 Metascore
    • 75 Michael Wilmington
    A prime example of advocacy journalism--a form often criticized but perfectly honorable. Most importantly, it gives you a chance to ruminate on some crucial questions of human error, justice and life-and-death.
    • 53 Metascore
    • 75 Michael Wilmington
    May be corny, but it's also absorbing, sweet and powerfully acted. It's a film about falling in love and looking back on it, and it avoids many of the genre's syrupy dangers.
    • 53 Metascore
    • 75 Michael Wilmington
    Kline, though, does give one of the great movie performances of the year so far.
    • 59 Metascore
    • 75 Michael Wilmington
    It's a high-tech thriller that really works.
    • 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.
    • 76 Metascore
    • 75 Michael Wilmington
    Demme's movie is just as sophisticated and knowing as Frankenheimer's, but it isn't as hip or daring. It doesn't haunt your mind or stir your sense of dread the way the '62 movie did--and it lacks almost totally the earlier film's piercing, oddball satire and humor.
    • 71 Metascore
    • 75 Michael Wilmington
    Really two movies: a taut, terrific, realistic crime drama, and, by the end, an over-the top, high-tech extravaganza which tries to out-Woo John Woo and turn Cruise into another Terminator.
    • 55 Metascore
    • 75 Michael Wilmington
    Ozpetek brings a straight love story and world politics into the mix, but it's his brilliant cast which completes the connection.
    • 66 Metascore
    • 75 Michael Wilmington
    Usually American marital problems are left to the soap operas; it's nice to see them tackled by experts, piercing personas and peeling open hearts.
    • 67 Metascore
    • 75 Michael Wilmington
    Like the work of an expert tailor, it's done with unobtrusive skill, essential warmth and seamless grace.
    • 74 Metascore
    • 75 Michael Wilmington
    The sights, sounds and traffic in Red Lights are oppressively ordinary; the people are unnervingly real. That reality doubles the suspense we might feel in a more slickly made but thinly plotted thriller.
    • 79 Metascore
    • 75 Michael Wilmington
    Another of his (McElwee) beguiling "personal chronicle" movies.
    • 48 Metascore
    • 75 Michael Wilmington
    Boasts a really spectacular cast to voice those reasonably funny jokes.
    • 73 Metascore
    • 75 Michael Wilmington
    Pictorially sumptuous and sexually provocative.
    • 61 Metascore
    • 75 Michael Wilmington
    A gripping, very intelligent British thriller. Slowly, inexorably, it ties you in knots.
    • 61 Metascore
    • 75 Michael Wilmington
    This movie, which aspires to be a Christmas movie classic on the "It's a Wonderful Life" level, is overwhelming, enjoyable and impressive, without being really entrancing.
    • 75 Metascore
    • 75 Michael Wilmington
    With the exception of Amelie's voiceover narration in French, Fear and Trembling is entirely in Japanese. And the Japanese cast is superb.
    • 54 Metascore
    • 75 Michael Wilmington
    Macabre, oddly gripping.
    • 78 Metascore
    • 75 Michael Wilmington
    This film carries us so touchingly into their world, it would take a heart of stone, finally, to ignore them.
    • 71 Metascore
    • 75 Michael Wilmington
    A work both rigorously stylized and deeply personal. Devotees of Kitano and Japanese cinema will admire Dolls.
    • 46 Metascore
    • 75 Michael Wilmington
    The imagination, energy, chutzpah and sheer affection shown for Darin by director-writer-star Spacey, who plays the singer, are admirable, kicky. This is a movie, that, like Darin himself, takes a lot of chances and delivers on many of them.
    • 74 Metascore
    • 75 Michael Wilmington
    Wrings honest emotion and riveting dramatics from its tale.
    • 55 Metascore
    • 75 Michael Wilmington
    It's "knowingly" off-the-rails--and if you're in a tolerant or adventurous mood, very entertaining.
    • 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.
    • 78 Metascore
    • 75 Michael Wilmington
    Lucidity, austerity and quiet compassion are peculiar virtues to ascribe to a movie about a horrific real-life murder case, but those are among the best qualities of Jean-Pierre Denis' Murderous Maids.
    • 62 Metascore
    • 75 Michael Wilmington
    For all its craft and achievement, The Gift -- which has a script that may have needed more rewriting and deepening -- is a good, minor effort; it has some real conviction, even anguish. And it has Blanchett, whose gift as an actress is sometimes transcendent.
    • Chicago Tribune
    • 70 Metascore
    • 75 Michael Wilmington
    Exquisitely designed, lovingly executed, beautifully scored and played, every hair and note in place, it's a movie full of irony, passion and bluesy riffs.
    • 56 Metascore
    • 75 Michael Wilmington
    Inspirational biographical movie that really works.
    • 55 Metascore
    • 75 Michael Wilmington
    I can't imagine a better actress for this part than Australian-born Cate Blanchett. Blanchett, who can be regal ("Elizabeth") or slutty ("The Shipping News"), manages to catch the feel of Guerin.
    • 56 Metascore
    • 75 Michael Wilmington
    The film mixes unashamed kitsch, thrilling airfight scenes and dark historical drama. But what gives it a special charge is its portrait of the Czech RAF group: what happened to them before, during and after the war.
    • 56 Metascore
    • 75 Michael Wilmington
    Waterworld is often entertaining because it's screwy. Could even Ed Wood Jr. have come up with those cigarette-puffing villains, in a world with hardly enough dirt for a tobacco plant? [28 July 1995]
    • Chicago Tribune
    • 52 Metascore
    • 75 Michael Wilmington
    It's ludicrous, but it's fun. Besson is a filmmaker so in love with his own daffy excesses that he's able to pull us, laughing, right into his world of loony pop. [9 May 1997]
    • Chicago Tribune
    • 56 Metascore
    • 75 Michael Wilmington
    Like all good popular entertainments, the best of it sings.
    • 54 Metascore
    • 75 Michael Wilmington
    The movie rips and roars.
    • 35 Metascore
    • 75 Michael Wilmington
    Surprises with its intensity and grip.
    • 70 Metascore
    • 75 Michael Wilmington
    Seems small in subject and scope, but it's large in spirit and implication.
    • 67 Metascore
    • 75 Michael Wilmington
    It's such a knowledgeable work and so pleasantly obsessed with its subject that it will interest even audiences whose attraction to wine is only casual.
    • 53 Metascore
    • 75 Michael Wilmington
    The diversity of the Beauty Shop ensemble is a large part of what makes it so much fun to watch;
    • 62 Metascore
    • 75 Michael Wilmington
    Corny as it may sound though, it's all true-except, of course, for that mythical movie last-second championship bit.
    • 73 Metascore
    • 75 Michael Wilmington
    An absorbing story. Even though it takes you to places you may not want to go, the film never loses its human touch--that feel of skin on skin or of the past inescapably invading the present.
    • 72 Metascore
    • 75 Michael Wilmington
    Chicago-bred Haskell is such an intense, contentious, prickly figure, he would tend to take over any film portrait, and he definitely dominates here.
    • 74 Metascore
    • 75 Michael Wilmington
    Capable of enthralling.
    • 63 Metascore
    • 75 Michael Wilmington
    Though "Caterina" is unusually well-acted and crafted for this kind of movie--and both more than casually insightful and irreverent about modern Italian school life, teenage mores and politics--Giancarlo is the one character who makes the movie special.
    • 70 Metascore
    • 75 Michael Wilmington
    Nolan is a fascinating, offbeat choice for a huge movie franchise such as this. Just as Bale turns Batman into a near-tragic obsessive -- a Scarlet Pimpernel with the soul of a Hamlet and Monte Cristo -- Nolan turns Batman Begins into something much closer to Miller's "Dark Knight" interpretation.
    • 62 Metascore
    • 75 Michael Wilmington
    5x2
    When you piece it all together, it becomes mildly fascinating.
    • 52 Metascore
    • 75 Michael Wilmington
    As a sheer ghostly thriller, it's mostly a spell-binder, but I was disappointed at the ending.
    • 64 Metascore
    • 75 Michael Wilmington
    In the end, it's a heartening, rewarding experience to watch this journey--and, especially, its end.
    • 65 Metascore
    • 75 Michael Wilmington
    The new Bad News Bears may not make you cheer, but it should provide laughs and a good time. Isn't that what some movies are all about?
    • 46 Metascore
    • 75 Michael Wilmington
    Writer-director Gary David Goldberg's script is full of complex and lively love patter, which Cusack especially rattles off with sometimes breakneck speed.
    • 75 Metascore
    • 75 Michael Wilmington
    Beautifully shot and filled with gorgeous music.
    • 79 Metascore
    • 75 Michael Wilmington
    The first 10 minutes of Lodge Kerrigan's Keane have a raw, hurtling reality that's as painfully engrossing as anything you'll see in a recent non-fiction movie, a searing portrait of one man's hell, from inside and outside.
    • 66 Metascore
    • 75 Michael Wilmington
    Like the moving 1999 American "A Walk on the Moon," with Diane Lane and Viggo Mortensen, Hard Goodbyes juxtaposes a family crisis with the excitement of the period before and during Neil Armstrong's 1969 moonwalk.
    • 69 Metascore
    • 75 Michael Wilmington
    It's not a great movie, or one that should preoccupy you much afterwards, but it's certainly a good one. It's a fine debut for first-timer Mills.
    • 71 Metascore
    • 75 Michael Wilmington
    The writing isn't always up to the actors, who all give the kind of expert, theatrically ingenious performances that often seem director-proof.
    • 56 Metascore
    • 75 Michael Wilmington
    There's just enough neurotic or sharp badinage and Rodeo Drive realism to make it all go down easy.
    • 52 Metascore
    • 75 Michael Wilmington
    A "Chekhovian" movie that's closer to the master's mood than many, it's also a jazzy, rainy day film that makes serious and amusing points about life and people in the midst of its downpour.
    • 66 Metascore
    • 75 Michael Wilmington
    Quite affecting, even if it doesn't rank with classics like "Open City" or "Forbidden Games."
    • 70 Metascore
    • 75 Michael Wilmington
    The new Israeli movie Ushpizin, a film about man's clumsiness and God's grace, is a touching and amusing tale that expands our horizon and also should open our hearts.
    • 61 Metascore
    • 75 Michael Wilmington
    An inspirational movie about a inspiring figure: Emmanuel Ofosu Yeboah of Ghana.
    • 78 Metascore
    • 75 Michael Wilmington
    An unashamed art picture, the kind of film where extreme aestheticism mixes with nightmare dread, where the story resembles a bad dream and where Freudian symbols cluster around the events like a swarm of insects. It's a very pretty film, but it's also lean, enigmatic and so obscure.
    • 71 Metascore
    • 75 Michael Wilmington
    It's an intricate, sometimes implausible ideological thriller that might be better as a smaller-scaled, less% preachy psychological drama. Still, "Paradise" catches and keeps your attention because of its daring subject, real-life backdrops and the intensity of its actors.
    • 55 Metascore
    • 75 Michael Wilmington
    The kind of smart, realistic indie family drama the movies should give us more often, just as they should more often offer performances as full-blooded and rich as Aiello's and Curtin's here.
    • 58 Metascore
    • 75 Michael Wilmington
    The movie's great end-title sequence redeems everything. Under the credits, we see and hear the real-life game veterans as they are now--including, movingly, ex-Lakers coach Riley.
    • 78 Metascore
    • 75 Michael Wilmington
    In many ways, it's a painful story, but it's also full of curious triumphs and outlandish redemptions.
    • 63 Metascore
    • 75 Michael Wilmington
    The film, both light-hearted and serious, suggests that freedom comes more easily within restrictions--and that's true of Albou's approach as well.
    • 46 Metascore
    • 75 Michael Wilmington
    The acting has the bravura stage eloquence of Broadway Shakespeare and the movie is narrated, beautifully, by John Hurt.
    • 62 Metascore
    • 75 Michael Wilmington
    It's an ensemble piece with a dark, salty mood that reminded me of Robert Altman and Robert Aldrich, with a touch of Francis Ford Coppola. It's notably non-"gung ho."
    • 55 Metascore
    • 75 Michael Wilmington
    There's something a little absurd about this story, but for me, it's endearingly goofy.
    • 58 Metascore
    • 75 Michael Wilmington
    This "Ice Age" is still a good movie (especially for kids) with top-of-the-tech CGI.
    • 53 Metascore
    • 75 Michael Wilmington
    The talk is witty, the twists are ingenious, the look and the mood are drop-dead.
    • 47 Metascore
    • 75 Michael Wilmington
    It has a good director, snazzy visuals and some really funny animals, and that's at least half the battle.
    • 57 Metascore
    • 75 Michael Wilmington
    Directed by Julian Jarrold and co-written by Tim Firth ("Calendar Girls"), the movie is quite enjoyable, effortlessly well-done on every level, even moving at times, but relatively light weight.
    • 73 Metascore
    • 75 Michael Wilmington
    Erotic, poetic and light on its feet. It's a portrayal of a runaway teenager's sexual initiation, and though it comes close to being exploitive, it keeps dancing away.
    • 64 Metascore
    • 75 Michael Wilmington
    A tender, visually stunning comedy-drama.
    • 47 Metascore
    • 75 Michael Wilmington
    Throbbing with music, seething with anger and romance, The Lost City is a film that breaks your heart, bewilders, alienates and ravishes you by turns.
    • 75 Metascore
    • 75 Michael Wilmington
    A comedy of evil and strange redemption, Lady Vengeance makes sure that we feel the pain, that we know what it's like to unreasonably suffer, because those are the rules of its mad, wounding, vengeful world.
    • 56 Metascore
    • 75 Michael Wilmington
    It's only a mild disappointment. The talent is still there, the film better than most. It just needs less crime, more love.
    • 64 Metascore
    • 75 Michael Wilmington
    It's a fervent, topical political drama of extraordinary impact and ferocity.
    • 73 Metascore
    • 75 Michael Wilmington
    The racial and sexual politics of Heading South may trouble some audiences; Cantet is definitely not a moralist in the usual sense.
    • 67 Metascore
    • 75 Michael Wilmington
    Time to Leave may not have made me cry, but it's affecting nonetheless.
    • 55 Metascore
    • 75 Michael Wilmington
    Jan Kounen, the maker of Darshan, is a French director with flashy credentials, including music videos, commercials, horror shorts, violent gangster movies ("Dobermann") and offbeat westerns ("Blueberry").
    • 61 Metascore
    • 75 Michael Wilmington
    Creating a mood that suggests an unholy mix of Czech novelist Franz Kafka, American pulp fictionist Jim Thompson and French heist moviemaker Jean-Pierre Melville, Babluani's story is about the perils of get-rich-quick schemes.
    • 71 Metascore
    • 75 Michael Wilmington
    Factotum, starring Matt Dillon and Lili Taylor in two of their best film performances, is a good movie about the L.A. underbelly, as recalled by an expert: Charles Bukowski.
    • 66 Metascore
    • 75 Michael Wilmington
    Fascinating as Buzz often is, the film obviously was made with limited resources, transferred to film from DV, with grainy clips from the trailers for Bezzerides-scripted movies rather than snippets of the movies themselves.
    • 71 Metascore
    • 75 Michael Wilmington
    A fine, taut, tough example of the realistic police drama.
    • 71 Metascore
    • 75 Michael Wilmington
    A realistic drama about life's uncertainties.
    • 64 Metascore
    • 75 Michael Wilmington
    People who love Lennon will almost certainly like the film; his detractors will almost certainly howl "bias!" Even so, it's a movie that, at its best, makes you ache with the memory of an anguished era and its fallen pop culture hero.
    • 70 Metascore
    • 75 Michael Wilmington
    One of those corny, lusciously mounted, almost predictably thrill-packed action movies you can't help but like.
    • 84 Metascore
    • 75 Michael Wilmington
    The movie has a large theme, even if it's unspoken. Old Joy is about a particular friendship, but it's also about how American society changed in the '90s and the new century.
    • 70 Metascore
    • 75 Michael Wilmington
    It only works about half the time, but it's an interesting half.
    • 49 Metascore
    • 75 Michael Wilmington
    Martin Lawrence and Ashton Kutcher may seem like an odd-sounding comedy team, but in some weird way, they click as voice-actors and cartoon buddies in Open Season.
    • 67 Metascore
    • 75 Michael Wilmington
    A delicately crafted, gently inflected, lovely little movie about the need for love, directed and co-written by Singapore's Eric Khoo ("Mee Pok Man").
    • 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.
    • 75 Metascore
    • 75 Michael Wilmington
    The film's most memorable performance is in another supporting role, by Alan Cumming as hapless Frandsen, Olaf's sympathetic neighbor and a hopelessly inept farmer.
    • 68 Metascore
    • 75 Michael Wilmington
    The value of Romantico is that it lets us experience vicariously what Carmelo and others like him go through.
    • 59 Metascore
    • 75 Michael Wilmington
    Copying Beethoven, at its best, is a sort of grand cinema opera of the composer's life and music.
    • 59 Metascore
    • 75 Michael Wilmington
    It's an almost overwhelmingly professional picture, murderously fast, slick and full of outlandish notions, painstakingly realized. And it's also surprisingly satisfying -- thanks to Washington, a good cast, Tony Scott's swift direction and that unyielding professionalism.
    • 52 Metascore
    • 75 Michael Wilmington
    The Nativity Story surprised me. I didn't expect such an obvious art film approach. Yet the Bible, in the King James version, is great English literature.
    • 56 Metascore
    • 75 Michael Wilmington
    One of the more intelligent, better-made new movies around right now, but, despite everything, it doesn't really connect with the nerves and heart. It's a romance without anguish, although the pain of love is really what it's all about.
    • 66 Metascore
    • 75 Michael Wilmington
    This is a comedy made for people who think, who like smart talk and who, like the Perelmans, know the score.
    • 63 Metascore
    • 75 Michael Wilmington
    The movie itself, defying all odds, comes close to a knockout.
    • 39 Metascore
    • 75 Michael Wilmington
    The movie--while it doesn't knock you out--doesn't self-destruct either. Besson may never rise to the level of his best American models here, but it's fun watching him try.
    • 64 Metascore
    • 75 Michael Wilmington
    Hilary Swank gives a powerhouse performance as a maverick high school teacher in Freedom Writers, an often gripping and sometimes even inspiring film drama taken from the real-life story of Erin Gruwell.
    • 49 Metascore
    • 75 Michael Wilmington
    A sports bio movie that I really enjoyed about a sport and sports hero I barely knew existed: the World Hour Record competition for bicyclists and its gutsy, tormented and most unusual champion, Graeme Obree.
    • 69 Metascore
    • 75 Michael Wilmington
    The result is something so old it's new, so corny it's funny. And while Tears of the Black Tiger is nothing more than entertaining, at least it's that.
    • 68 Metascore
    • 75 Michael Wilmington
    Becket, now richly restored, is one of those '60s British theatrical spectaculars that we always imagine as a bit better than they were.
    • 75 Metascore
    • 75 Michael Wilmington
    Mantel and Skrovan's documentary astutely reminds us of why we need the world's Naders. It's a reasonable movie about an often admirably unreasonable man.
    • 61 Metascore
    • 75 Michael Wilmington
    The French filmmakers lend it their special aesthetic/dramatic sense, and the Masai actors ground the story in everyday realism and humanity. Together, they create a film and a legend to remember.
    • 74 Metascore
    • 75 Michael Wilmington
    Elaborately mounted, expensively produced and filmed with style and empathy, it's an adaptation of Paterson's Newbery Medal-winning book that manages to expand the original vision, yet preserve much of its intense emotion.
    • 60 Metascore
    • 75 Michael Wilmington
    Best of all though, we get to experience the whole fest itself, over four turbulent decades-an era from which Glastonbury, like Woodstock in its day, offers a halcyon "timeout."
    • 69 Metascore
    • 75 Michael Wilmington
    Starter for 10 is cute and smart, just like its star triangle, and it's also well-written, acted and directed.
    • 73 Metascore
    • 75 Michael Wilmington
    The Cats of Mirikitani seems all too short; it has enough meat to be turned into an excellent dramatic film.
    • 61 Metascore
    • 75 Michael Wilmington
    Chan is so good, so much fun to watch, that he often transcends his vehicles. And that's the case with Rumble in the Bronx, his big bid to crack the American market. [23 Feb 1996, p.C]
    • Chicago Tribune
    • 35 Metascore
    • 75 Michael Wilmington
    Mrs. Winterbourne doesn't amount to much. But it's such a professional job, done with such glow and verve -- and the people making it seem to be having such an infectiously good time -- that it's hard to resist. Good comedies are easy to love anyway. [19 Apr 1996, p.C]
    • Chicago Tribune
    • 61 Metascore
    • 75 Michael Wilmington
    Reign works better much better than "Upside" because of the cast and because Sandler and Cheadle together keep it lighter. It's an easy film to watch, but less easy to be moved by.
    • 57 Metascore
    • 75 Michael Wilmington
    In Color Me Kubrick, John Malkovich has one of the roles of his life, and he acts it up like a haughty gourmet who's just picked up a succulent treat.
    • 58 Metascore
    • 75 Michael Wilmington
    Movies like First Snow rise or fall on characters and atmosphere, and Fergus gets them both. But though the story's resolution does have irony and even a certain power, it lacks the charge, the Serlingesque "gotcha," that it needs.
    • 67 Metascore
    • 75 Michael Wilmington
    Dercourt, a very fine filmmaker, is a musician himself, a music teacher and one-time solo viola player with the French Symphony Orchestra. And he directs, with a musician's precision and an insider's sly wit, the world of classical music performance.
    • 61 Metascore
    • 75 Michael Wilmington
    When it enters the future, it's a new-fangled, old-fashioned jim-dandy of a show.
    • 70 Metascore
    • 75 Michael Wilmington
    One of the movie's most moving elements is the duo's famous prison correspondence, as eloquently read by Tony Shalhoub as Sacco and John Turturro as Vanzetti. But Miller's obvious passion and dedication shine throughout.
    • 70 Metascore
    • 75 Michael Wilmington
    Isn't all it could have been. But the filmmakers catch the right glittery look and paranoid intensity, and they make gutsy speculations about the story beneath the story.
    • 59 Metascore
    • 75 Michael Wilmington
    There's nothing particularly original or striking about Ping Pong except its style. It's a breezy, likable story, and the director here, Fumihiko Sori, obviously enjoys his work.
    • 49 Metascore
    • 75 Michael Wilmington
    A relaxed-looking expert piece that immerses us in another world. At the end, Hanson has a bonus. He and his producers hired Bob Dylan for the Oscar-winning "Things Have Changed" in "Wonder Boys," and Hanson brings Dylan back here, for a folky, bluesy number called "Huck's Tune."
    • 50 Metascore
    • 75 Michael Wilmington
    In French Kiss--a picture that isn't unusually funny or original but that has expert actors, smooth direction and ravishing French locales--we can get pleasure from the sheer, relaxed polish of it all, the effortless swing. It's a good time passer. [5 May 1995, p.C]
    • Chicago Tribune
    • 55 Metascore
    • 75 Michael Wilmington
    Surviving Picasso is an intelligent, beautifully crafted and engrossing Ismail Merchant-James Ivory biographical portrait of the century's most famous and successful painter. [4 Oct 1996]
    • Chicago Tribune
    • 57 Metascore
    • 75 Michael Wilmington
    A romantic comedy/social satire that, on a modest budget, manages to be hip, charming, funny and dressed to kill.
    • 70 Metascore
    • 75 Michael Wilmington
    In Year of the Dog, there are dark moments that are both strangely poignant and bizarrely hilarious. The ending took me by surprise. In a way it's a cheat, a redemption that arrives out of nowhere. But it's also a cosmic joke, a perfectly funny, sincere salute to dog and pet-lovers everywhere.
    • 54 Metascore
    • 75 Michael Wilmington
    It's a sordid but expert shocker.
    • 77 Metascore
    • 75 Michael Wilmington
    A stark, painful drama about pregnancy--a subject rarely treated this fully, candidly or tragically.
    • 75 Metascore
    • 75 Michael Wilmington
    The ending of Waitress is so beguiling and whimsical that it makes you, like its diner's patrons, hungry for more--and it makes you miss that red-headed movie auteur/pastry chef/heart stealer Shelly even more.
    • 75 Metascore
    • 75 Michael Wilmington
    It's intellectual without being dry, dramatic without bombast, smart without posturing. Its characters and milieu are very well drawn, and Andre is one of the more intriguing and convincing fictional creations in recent film.
    • 44 Metascore
    • 75 Michael Wilmington
    Girl 6 is a snappy, contemporary comedy about an aspiring New York actress who drifts into and out of the world of phone sex. It's an often sexy, funny show with interesting slants on modern New York culture and mores. [22 Mar 1996, p.F]
    • Chicago Tribune
    • 49 Metascore
    • 75 Michael Wilmington
    That conscious absurdity is at the core of The Quick and the Dead. It's a rousingly grotesque, often wildly entertaining western horror-comedy, with co-producer and star Sharon Stone as a sexy lady gunslinger taking on all comers in the gunfight tournament from hell. [10 Feb 1995, p.C]
    • Chicago Tribune
    • 61 Metascore
    • 75 Michael Wilmington
    Broken Arrow is much better than the average big-time action movie because Woo has blazing style and a unique, even eccentric viewpoint. [9 Feb 1996, p.C]
    • Chicago Tribune
    • 52 Metascore
    • 75 Michael Wilmington
    Frederick is the key to the movie and she's definitely an impressive new talent, someone who can really hold the screen and who delivers something striking or memorable in every scene.
    • 46 Metascore
    • 75 Michael Wilmington
    I liked Flirt better than any of Hartley's films since "Trust." The playfulness he shows here seems better integrated, more meaningful, than the strange narrative whimsies of 1992's "Simple Men" or 1994's "Amateur." [08 Nov 1996]
    • Chicago Tribune
    • 62 Metascore
    • 75 Michael Wilmington
    Bug
    Ashley Judd as Agnes White, and a relative newcomer, the remarkable Michael Shannon, as Peter Evans. They're both spellbinding.
    • 81 Metascore
    • 75 Michael Wilmington
    We've gotten perhaps too used to the computerized wizardry of our own cartoon features; Kon, like Miyazaki shows us some older ways that can still transfix us.
    • 67 Metascore
    • 75 Michael Wilmington
    One of the most hopeful movies I've seen recently--not just for its humane, realistic story line, but in its very being.
    • 59 Metascore
    • 75 Michael Wilmington
    Though Day Watch seems less shocking and overwhelmingly strange than "Night Watch," it's another rocking mix of gritty thriller and glitzy sci-fi, once again in the vein of the director Bekmambetov's idols Quentin Tarantino and the Wachowski brothers.
    • 65 Metascore
    • 75 Michael Wilmington
    Director Guy Ferland, who has made one previous feature, handles this material smoothly and well, aided by the juke-box bright colors caught by cinematographer Reynaldo Villalobos. And Eszterhas, who has never shown much flair for comedy - except for the mother lode of unintentional laughs in "Showgirls" - puts humor into this story of surprising warmth and bite. [24 Oct 1997]
    • Chicago Tribune
    • 60 Metascore
    • 75 Michael Wilmington
    The film, despite some over-obvious stretches, is mostly sad, lovely, moving, haunting. It's a striking and promising debut from a fine new filmmaker. [21 Aug 1998]
    • Chicago Tribune
    • 70 Metascore
    • 75 Michael Wilmington
    there are times when Grease really kicks in. I'm fond of Channing singing "Look at me, I'm Sandra Dee, rotten with virginity" and then telling an imaginary Troy Donahue, "I know what you wanna do." And most of the big musical numbers work, especially the showstopper: the sunlit Danny-Sandy duet to "Summer Dreams." Greasy kid stuff it all may be, but just like rock 'n' roll, it'll probably never die. [27 Mar 1998, p.A]
    • Chicago Tribune
    • 45 Metascore
    • 75 Michael Wilmington
    There's a lot of beauty and excitement in Legends of the Fall - not least from the actors. [13 Jan 1995]
    • Chicago Tribune
    • 65 Metascore
    • 75 Michael Wilmington
    It's a cool breeze of a comedy, with a slant on things that's dark but compassionate. Watching Bottle Rocket doesn't just make you laugh. It makes you smile between the laughs, think beneath the smiles.
    • 57 Metascore
    • 70 Michael Wilmington
    But there's something missing, something tentative and uncertain. In order to pull off a magic trick, you often have to distract the audience with smooth patter, clever detail or indirection. And this movie tries to play it so pure and unabashed that we can see right up its sleeves. [21 Apr 1989, Calendar, p.6-1]
    • Los Angeles Times
    • 70 Metascore
    • 70 Michael Wilmington
    Fascinating documentary.
    • 67 Metascore
    • 70 Michael Wilmington
    Passion, obsession, mad love, the violent clash of insider and outsider-all these themes, plus the performances, are rich enough to carry us past that wounded climax, if not to carry the movie past the fatal attractions of the big box-office cliche. [18 Sep 1987, p.1]
    • Los Angeles Times
    • 70 Metascore
    • 70 Michael Wilmington
    Lethal Weapon 2 has the brain-rattling pace of a terminal speed freak going the wrong way down an expressway. [7 Jul 1989, p.1]
    • Los Angeles Times
    • 54 Metascore
    • 70 Michael Wilmington
    In Rocky V, the fifth and presumably last episode of Sylvester Stallone's Rocky Balboa saga, the writer-star once again contrives a way to make his hulking, sad-eyed gladiator the underdog. And we get whiffs of funkiness and humanity stirring around for the first time since the original Rocky. [16 Nov 1990, p.1]
    • Los Angeles Times
    • 66 Metascore
    • 70 Michael Wilmington
    The film itself is playful, weird, unpredictable and a bit tasteless. [10 Apr 1992]
    • Los Angeles Times
    • 50 Metascore
    • 70 Michael Wilmington
    To say Young Guns is one of the best big Westerns of the '80s doesn't mean much: Westerns have been almost moribund since 1976. But it does hint at this movie's surprising vitality, bloody ebullience and violent impetuosity-qualities it shares with crazy little Billy. [12 Aug 1988, p.11]
    • Los Angeles Times
    • 83 Metascore
    • 70 Michael Wilmington
    Branagh's expertly cut and reshaped Henry V gives us the grimy face of war, yet he also gives us the guts - and the soul and poetry that animate them both. [8 Nov 1989]
    • Los Angeles Times
    • 46 Metascore
    • 70 Michael Wilmington
    If Spaceballs disappoints you, it isn't because it's unfunny or not entertaining. Brooks at medium pressure is still more amusing than most movie makers. [25 Jun 1987, p.1]
    • Los Angeles Times
    • 53 Metascore
    • 70 Michael Wilmington
    Twins starts with an overblown fairy-tale quality that seems as if it should work. But, by the finish, the movie collapses on the shoulders of the stars. It works because they both showed up and delivered the goods and kept their end of the deal. [9 Dec 1988, p.1]
    • Los Angeles Times
    • 61 Metascore
    • 70 Michael Wilmington
    Red Heat is directed in a fiery, muscular, pop-graphic style. And it has a James Horner score that puckishly mixes Prokofiev and rhythm and blues. But it's also a movie with a cramped interior. The action scenes seem to be squeezing out everything else, pressing the characters against the wall. [17 Jun 1988, p.1]
    • Los Angeles Times
    • 65 Metascore
    • 70 Michael Wilmington
    What many American movies do well these days -- action, violence, hell-for-leather street spectacle -- Darkman does better. That may be praise enough. [24 Aug. 1990, p.F10]
    • Los Angeles Times
    • 65 Metascore
    • 70 Michael Wilmington
    There's an urgency about "Star Trek VI" that comes from its deliberate topicality. [6 Dec. 1991, p.F1]
    • Los Angeles Times
    • 65 Metascore
    • 70 Michael Wilmington
    It's a zippy melodrama for small-town America and small-towners at heart: well-executed kitsch for audiences that will still be amused at the notion that the bugs are getting so big, they'll drag us all down.
    • 33 Metascore
    • 63 Michael Wilmington
    Very much a looking-back movie; its most obvious model is "American Graffiti." But if you know that particular slice of early '80s Manhattan, you may be as amused as I was. [26 Feb 1999]
    • Chicago Tribune
    • 45 Metascore
    • 63 Michael Wilmington
    It's a weird little movie that's amusing enough while you watch it, offering fine acting moments and pungent insights into modern L.A.'s show-biz and media subcultures. But it doesn't leave you with much.
    • 48 Metascore
    • 63 Michael Wilmington
    If you were forced to judge it simply on its action-movie visual and technical elements, you'd have to count it a roaring success... . But if you lay aside that action and watch the people instead, it's a morass of dimwitted family crises and hack action-movie cliches.
    • 49 Metascore
    • 63 Michael Wilmington
    As for Ramis, he's no Stanley Donen. He can make us laugh, but he can't make a movie dance.
    • Chicago Tribune
    • 49 Metascore
    • 63 Michael Wilmington
    Just because a movie was inspired by real life and has good intentions doesn't mean it can't wind up as phony as a three-dollar bill.
    • 56 Metascore
    • 63 Michael Wilmington
    While it's done well enough here - written smartly, staged crisply and acted to the hilt - it doesn't last, except as a brief virtuoso piece for three players.
    • 49 Metascore
    • 63 Michael Wilmington
    What pulls us along through the inky shoals of The Way of the Gun? Sheer style, plus the movie's refusal to play nice.
    • 51 Metascore
    • 63 Michael Wilmington
    The movie -- even though it's based on real events -- seems unsatisfying and unconvincing.
    • Chicago Tribune
    • 65 Metascore
    • 63 Michael Wilmington
    A classy but over-contrived topical thriller about bomb plots and anti-government groups.
    • 53 Metascore
    • 63 Michael Wilmington
    Starts like a house afire and then suffers an imagination burnout.
    • 48 Metascore
    • 63 Michael Wilmington
    Gives us a lot to enjoy and something most studio movies don't even try for: an attempt at the richness, density and sheer contrariness of life.
    • 70 Metascore
    • 63 Michael Wilmington
    Girlfight, for its skill and theme, will please many. It's a shame it's no knockout.
    • Chicago Tribune
    • 46 Metascore
    • 63 Michael Wilmington
    Makes compromises itself, but only because of its small budget and its director's mixed dark-and-rosy vision, at once cynical and sentimental. Yet at least it has a vision -- of both life and cinema.
    • 59 Metascore
    • 63 Michael Wilmington
    I liked the idea of the movie more than the movie itself -- though sections of it are mind-blowing.
    • Chicago Tribune
    • 37 Metascore
    • 63 Michael Wilmington
    Disturbingly lightweight and emotionally risk-free.
    • 54 Metascore
    • 63 Michael Wilmington
    The whole movie plays like an improbable blend of "Repulsion," "High Noon" and the archetypal low-budget rape/revenge shocker "I Spit on Your Grave." Queasy audiences beware, but midnight-movie bookers take note.
    • 51 Metascore
    • 63 Michael Wilmington
    A paper-thin wish-fulfillment comedy about escaping small-town repressions and blasting conformity.
    • 63 Metascore
    • 63 Michael Wilmington
    It's worth seeing simply to make the acquaintance of Tobias, a really extraordinary old guy.
    • Chicago Tribune
    • 44 Metascore
    • 63 Michael Wilmington
    The movie loses its magic by the time the solution is revealed.
    • Chicago Tribune
    • 52 Metascore
    • 63 Michael Wilmington
    It's a real disappointment: too hasty, too scattered and superficial, and, in the end, disappointingly sappy and sentimental.
    • Chicago Tribune
    • 38 Metascore
    • 63 Michael Wilmington
    Despite greater resources and high-tech whiz bang than the first movie, has a lot more turkey than dinner.
    • 48 Metascore
    • 63 Michael Wilmington
    It's still a disappointment: a well-mounted and well-acted suspense movie that, thanks to its illogical script, falls off a cliff midway through.
    • 62 Metascore
    • 63 Michael Wilmington
    Whimsy and wit are the saving graces of much British movie comedy, and Saving Grace has a decent measure of both.
    • 42 Metascore
    • 63 Michael Wilmington
    Has a remote feel. It sometimes impresses but never soars.
    • Chicago Tribune
    • 50 Metascore
    • 63 Michael Wilmington
    Almost as uncompromising, and sometimes as funny, as "Dollhouse" or "Happiness."
    • 36 Metascore
    • 63 Michael Wilmington
    Like an episode of "Friends" where the entire cast has been given aphrodisiacs and locked up.
    • 57 Metascore
    • 63 Michael Wilmington
    Completely successful or not, films like Saudade do Futuro are needed. And we need people like the Nordestinos.
    • 55 Metascore
    • 63 Michael Wilmington
    A bawdy comedy that convincingly celebrates the resilience of the urban poor and the power of friendship in the teeth of despair.
    • Chicago Tribune
    • 42 Metascore
    • 63 Michael Wilmington
    Freeman gives his overwrought, over-familiar scenes an unlikely shot of intelligence and dignity that cuts through the formulas and almost makes them work.
    • 34 Metascore
    • 63 Michael Wilmington
    Something that gets your motor racing briefly, but which you've seen all too often.
    • 72 Metascore
    • 63 Michael Wilmington
    Too expensive for its own good, too chic for comfort.
    • 47 Metascore
    • 63 Michael Wilmington
    Though it's sweet and likable to a fault, it's also a movie that never seems heartfelt or deep.
    • 59 Metascore
    • 63 Michael Wilmington
    Despite Fiennes' splendid moodiness and Tyler's radiant vulnerability, despite lovely settings... this movie is dull.
    • 62 Metascore
    • 63 Michael Wilmington
    Just because it's true to life doesn't mean it can sing.
    • 52 Metascore
    • 63 Michael Wilmington
    Strong, hard, dirty, funny, moving atmospheric and laced with scabrously musical street dialogue.
    • 38 Metascore
    • 63 Michael Wilmington
    It's still strangely remote, only fitfully romantic, never really convincing.
    • 49 Metascore
    • 63 Michael Wilmington
    A singularly cheerless trip, explicit but sterile, racy but dull.
    • 53 Metascore
    • 63 Michael Wilmington
    It's a good film but an over-obvious one. I wish I'd liked it more.
    • Chicago Tribune
    • 41 Metascore
    • 63 Michael Wilmington
    A somewhat bewildering and unsatisfying film that nevertheless contains more inspired moments and brilliant scenes than many movies we call successes.
    • 31 Metascore
    • 63 Michael Wilmington
    A comedy of bad manners with many punchy moments and many irritatingly glib ones.
    • 54 Metascore
    • 63 Michael Wilmington
    No period of Italian history has produced more great movies than the WWII years . But, Malena romanticizes and even sentimentalizes those years.
    • Chicago Tribune
    • 62 Metascore
    • 63 Michael Wilmington
    Don't expect a lot, and you'll probably enjoy Happy, Texas, as I did -- mostly. At the very least, Steve Zahn will make you laugh.
    • 47 Metascore
    • 63 Michael Wilmington
    It's interesting - in its own let-it-all-hang-out, shaky-camera way.
    • Chicago Tribune
    • 67 Metascore
    • 63 Michael Wilmington
    No revelation, but it’s a more honorable, interesting effort than many of the crass, dopey recent big-studio schlockfests like "Say It Isn’t So" or "Tomcats" that tell similar coming-of-age tales.
    • 56 Metascore
    • 63 Michael Wilmington
    Pseudo art can be fun, though, even if it doesn't quite awaken all your senses.
    • Chicago Tribune
    • 50 Metascore
    • 63 Michael Wilmington
    Overall, The Brothers is glossy fun, but it should have given us more ideas and energy.
    • Chicago Tribune
    • 74 Metascore
    • 63 Michael Wilmington
    Code Unknown is a film you think more than feel. Though each scene is executed close to flawlessly, the cumulative effect is often oppressive. But at the center of the film -- the real reason it was made -- is Binoche, one of the genuinely radiant presences in movies today.
    • 63 Metascore
    • 63 Michael Wilmington
    A short film with a unique subject matter. But you won't soon forget its people, its places or its sad, surprising revelations about all the sexes.
    • 40 Metascore
    • 63 Michael Wilmington
    The film is not exactly a documentary, and not quite a period horror movie either. But it has elements of both. At its best, it's hypnotic and provocative.
    • 53 Metascore
    • 63 Michael Wilmington
    A gentle film, not very controversial despite its gay content, Chop Sue is valuable as a record of beauty and obsession, much less interesting as a human document.
    • 26 Metascore
    • 63 Michael Wilmington
    A cranky failure with brilliant moments.
    • 32 Metascore
    • 63 Michael Wilmington
    Fghting your heart out at the end of this movie can't win the prize or the crowd.
    • 46 Metascore
    • 63 Michael Wilmington
    If its jolts were as strong as its chuckles, The Woman Chaser might really have turned into the cheap-thrill classic it pretends to be.
    • 75 Metascore
    • 63 Michael Wilmington
    The movie -- directed in such a frenziedly self-conscious style you often wonder whether the camera will topple over on his actors.
    • 48 Metascore
    • 63 Michael Wilmington
    Packs so much hell-for-leather action, gorgeous Moroccan scenery and eye-popping Industrial Light and Magic visual effects into its two hours that, after a while, I began to get tired of it.
    • 76 Metascore
    • 63 Michael Wilmington
    One funny movie - for at least half the time.
    • 33 Metascore
    • 63 Michael Wilmington
    Jolie and Banderas are two hot actors, in many senses of the word, and their scenes together have a lewd excitement.
    • Chicago Tribune
    • 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.
    • 43 Metascore
    • 63 Michael Wilmington
    An outrageously unlikely prison action movie made with lots of eye-catching pizzazz and undeserved expertise.
    • Chicago Tribune
    • 43 Metascore
    • 63 Michael Wilmington
    It's just another case of mourning over what might have been.
    • 58 Metascore
    • 63 Michael Wilmington
    It's not that the movie is bad; it's merely uninspired and relatively clueless about Kaufman.
    • 64 Metascore
    • 63 Michael Wilmington
    There's something too slickly contrived and hollow about this film. It's a yuppified wish-fulfillment piece dangling between real world and fairy tale, and it's mostly the actors --especially Lindsay and Elaine Hendrix (as the conniving publicist who is trying to marry Hallie and Annie's dad) -- who manage to bring it off. [29 July 1998]
    • Chicago Tribune
    • 65 Metascore
    • 63 Michael Wilmington
    It's a misfire--but a fascinating, magnetic misfire, a film full of first-rate talents forced into absurdity, struggling to bring believability to nonsense. [22 September 1995, Friday, p. C]
    • Chicago Tribune
    • 77 Metascore
    • 63 Michael Wilmington
    Notoriety, they won. The revolution, they didn't. That perhaps is the secret message of the film. Dylan was right. You don't need a weatherman to know which way the wind blows.
    • 69 Metascore
    • 63 Michael Wilmington
    This movie gives us mostly the "what" when we need a bit of the "why" as well. In her other, better work, Denis always supplies it.
    • 54 Metascore
    • 63 Michael Wilmington
    A movie best suited for a lazy afternoon or a languorous night, particularly if you're a Francophile. Charming, glamorous, emotionally suggestive but slight, it's full of beautiful and colorful people.
    • 58 Metascore
    • 63 Michael Wilmington
    There are better holocaust dramas than Grey Zone -- "Schindler's List" for one, and due later this year, Roman Polanski's magnificent "The Pianist." But few will disturb you like The Grey Zone -- mostly because it won't try for tears.
    • 49 Metascore
    • 63 Michael Wilmington
    The movie is dedicated, in a nice touch, to early Farrelly fan Gene Siskel. And Gene was right: The Farrellys are often very funny filmmakers. .
    • Chicago Tribune
    • 64 Metascore
    • 63 Michael Wilmington
    Cradle Will Rock is the masterpiece that wasn't, a magnificent opportunity blown to hell.
    • Chicago Tribune
    • 62 Metascore
    • 63 Michael Wilmington
    As beautiful as all the film's technology is, it needs more real human beings around - to pull the switches, man the pumps and scuttle through those corridors.
    • 75 Metascore
    • 63 Michael Wilmington
    If Hollywood is really a dream factory, then it's the movie moguls and movie stars who live that dream to the hilt. In the late 1970s few lived quite as large as Robert Evans.
    • 45 Metascore
    • 63 Michael Wilmington
    A film of almost paralyzing gravity and large ambitions that, almost inevitably, it can't quite meet.
    • 67 Metascore
    • 63 Michael Wilmington
    A blend of the classical and the trite, the beautiful and tawdry, the genuinely moving and the cornball. Oddly, producer-director-star Costner often can't seem to tell the difference.
    • 47 Metascore
    • 63 Michael Wilmington
    A smart, sprightly little movie with beguiling actors and few inhibitions. Though there's nothing startlingly new here, there's a freshness and vigor to the acting, and the crisscrossing love affairs hold your interest.
    • 64 Metascore
    • 63 Michael Wilmington
    A promising film rather than a fully realized one.
    • 38 Metascore
    • 63 Michael Wilmington
    Almost nothing new to offer -- despite its good actors, flashy visuals and well-textured New York gloss and grit. But there are teasing hints of another, better movie buried inside somewhere.
    • 57 Metascore
    • 63 Michael Wilmington
    Dark as it is, the humor makes it work, especially Greene's typically witty and compassionate portrayal of Mogie.
    • 59 Metascore
    • 63 Michael Wilmington
    The film is De Palma's tribute to film noir, to Paris and to the cinema itself.
    • 48 Metascore
    • 63 Michael Wilmington
    This is a movie that, for all its often high intelligence and skill, seems emotionally underdone, bogged down in tony literary and cinematic cliches.
    • Chicago Tribune
    • 48 Metascore
    • 63 Michael Wilmington
    Fairly entertaining and often exciting, expertly done in a way, but not especially engaging or new, and not as emotionally involving as its title suggests.
    • 78 Metascore
    • 63 Michael Wilmington
    For sheer laughs, Willard and Piddock take the trophy.
    • Chicago Tribune
    • 68 Metascore
    • 63 Michael Wilmington
    Fun to watch it may be, but it's shallow fun. Like the drugs and booze the characters keep using -- and even the sex -- it's a passing pleasure.
    • Chicago Tribune
    • 35 Metascore
    • 63 Michael Wilmington
    Carpenter writes his own scripts -- here with past collaborator Larry Sulkis -- and their "Ghosts" screenplay lacks the density, character and humor of a Hollywood genre classic.
    • 35 Metascore
    • 63 Michael Wilmington
    Most novels can't be encapsulated well enough in a conventional two-hour movie format, and Dreamcatcher may be one of them -- a miniseries gone wrong.
    • 49 Metascore
    • 63 Michael Wilmington
    It's an extraordinary performance in an often brave and intelligent film that, unfortunately, tends to collapse around him in the end -- just as the world of Kline's character, tweedy but likable William Hundert, deconstructs around him.
    • 64 Metascore
    • 63 Michael Wilmington
    A second-rate nightmare: the Reagan generation meets Leatherhead with flickers of brilliance drowned in blood and snobbery, a corpse dressed by Bloomingdale's.
    • Chicago Tribune
    • 44 Metascore
    • 63 Michael Wilmington
    All these good actors and all Crystal's sass and witty candor can't bring back the heyday of Billy Wilder and Preston Sturges. Or even, most of the time, their off-days.
    • 57 Metascore
    • 63 Michael Wilmington
    It's a movie that starts off nicely, offers two marvelous performances (by James Coburn and Mick Jagger) and then slowly, unaccountably loses itself.
    • 55 Metascore
    • 63 Michael Wilmington
    A flashy, splashy and violent chase thriller.
    • 58 Metascore
    • 63 Michael Wilmington
    Too loud, bright and shallow for its subject: a movie that pushes too many obvious buttons to build naturally to the big, heartbreaking climax it obviously wants.
    • 36 Metascore
    • 63 Michael Wilmington
    Seethes with cruel lust and brainy fancy.
    • Chicago Tribune
    • 37 Metascore
    • 63 Michael Wilmington
    Turns out to be a Hollywood sequel of surpassing silliness and wasted talent.
    • 45 Metascore
    • 63 Michael Wilmington
    Always watchable and cinematically lively, but it never quite engages the emotions -- despite torrents of sentimentality and would-be heart-tugging scenes interspersed with the carnage.
    • 59 Metascore
    • 63 Michael Wilmington
    For my taste, too much of the new Powers looks like bad TV and sounds like old burlesque.
    • 55 Metascore
    • 63 Michael Wilmington
    Erratically acted and, at times, clumsily written.
    • 50 Metascore
    • 63 Michael Wilmington
    Takes a fascinating true story and turns it into a conventional cop thriller, hoking up the provocative three-generation saga of the LaMarca family.
    • 60 Metascore
    • 63 Michael Wilmington
    Doesn't have the negative qualities of many big-studio romantic comedies, but it doesn't quite take flight.
    • Chicago Tribune
    • 56 Metascore
    • 63 Michael Wilmington
    It suddenly morphs into one more overly slick, empty show.
    • 57 Metascore
    • 63 Michael Wilmington
    As is often the case in Loach's films, all the acting is exemplary. Padilla, who learned English only shortly before making the film, is a natural actress, a smoldering presence.
    • Chicago Tribune
    • 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.
    • 47 Metascore
    • 63 Michael Wilmington
    Heartbreakers itself is something of a con game: an expensive imitation of older, better films from older, often better times.
    • Chicago Tribune