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 Sweet Hereafter
Lowest review score: 0 Chaos
Score distribution:
1,276 movie reviews
    • 52 Metascore
    • 63 Michael Wilmington
    Possession needs a sharp eye, a wicked tongue, less reverence and much more of its author's voice.
    • 39 Metascore
    • 63 Michael Wilmington
    It's another slick-and-quick muscle car of a movie, racing along for a couple of hours, taking you nowhere as fast as it can.
    • Chicago Tribune
    • 57 Metascore
    • 63 Michael Wilmington
    In some ways it's not a film that surprises us much. But it's a notable directorial debut anyway -- smartly written, very well cast and skillfully done.
    • 64 Metascore
    • 63 Michael Wilmington
    Most of Frailty is so good -- done in a low-key, realistic mood of genuine creepiness and dread -- that it doesn't need formula shocks.
    • 44 Metascore
    • 63 Michael Wilmington
    A movie meant to explode off the screen -- and it's at its best when those explosions are going full blast.
    • 71 Metascore
    • 63 Michael Wilmington
    If you're in the mood for something strange, this film may please you, twice over.
    • 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.
    • 61 Metascore
    • 63 Michael Wilmington
    The whole film, in fact, seems too fast for its own good. It plays like a synopsis, jumping from scene to scene, grief to grief, and it doesn't let us relax into the various worlds it's creating.
    • 34 Metascore
    • 63 Michael Wilmington
    The movie, one of those surprise-twist detective stories, doesn't really stand up to scrutiny in the cold light of the theater lobby.
    • 63 Metascore
    • 63 Michael Wilmington
    Though I wouldn't call He Loves Me a total success, it's smart, intriguing and quite ambitious, a first film by a talented young filmmaker that displays superstar Tautou's gifts in an eerie new light.
    • 67 Metascore
    • 63 Michael Wilmington
    Its fascination may be limited to those already very familiar with his works and collaborators - and his sensual, highly subjective style.
    • 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
    • 59 Metascore
    • 63 Michael Wilmington
    The movie doesn't really jell. Glossy, good-looking and well-produced, it affects you and even sometimes moves you, but it doesn't really convincingly connect.
    • 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.
    • 52 Metascore
    • 63 Michael Wilmington
    There is a thrill in seeing them wooing and pursuing each other through the streets of New York, a city that here again, for a while, becomes a movie isle of joy.
    • 58 Metascore
    • 63 Michael Wilmington
    It's the equivalent of our "Gone With the Wind," Russia's "War and Peace" or, to take a more modest example, South Korea's "Chunhyang." Sheer ambition and grandiose make the film interesting -- up to a point.
    • 37 Metascore
    • 63 Michael Wilmington
    This new heist movie by the great thriller director John Frankenheimer flails around like its own dysfunctional gang of casino robbers.
    • 51 Metascore
    • 63 Michael Wilmington
    This is a better movie than the vacuous "Insurrection," thanks largely to a sympathetic screenwriter, longtime "Trek" fanatic John Logan ("Gladiator"), and a crew (headed by Patrick Stewart's Capt. Jean-Luc Picard and Brent Spiner's android Data) determined to go out in glory.
    • 62 Metascore
    • 63 Michael Wilmington
    It's a shapeless, derivative-but-funny show with another loony parody plot about super-villain Dr. Evil.
    • 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.
    • 58 Metascore
    • 63 Michael Wilmington
    Louiso has a confident touch and a good eye, and there isn't a scene in the film that wasn't intelligently done. Besides Hoffman's near-great performance as Joel, there isn't a bad or mediocre acting job on view either.
    • 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.
    • 38 Metascore
    • 63 Michael Wilmington
    The kind of movie that gives sequels a bad name, even though, strangely enough, it's better than the 1995 hit that spawned it.
    • 47 Metascore
    • 63 Michael Wilmington
    Unlike other current D.C. types, Elle would never misplace or misidentify her own weapons of mass destruction. They're all in her wardrobe closet and makeup kit.
    • 68 Metascore
    • 63 Michael Wilmington
    The movie overflows with action, slapstick and cliches, but the cliches never impede the action, and the slapstick is so expertly performed, it doesn't annoy you -- much.
    • 51 Metascore
    • 63 Michael Wilmington
    What's wrong is the decision to let all the actors improvise their lines...At the end, Irreversible looks less like captured or even distorted life than an acting class.
    • 60 Metascore
    • 63 Michael Wilmington
    Carrera's style is hard-hitting, lucid and technically superior (if unimaginative). El Crimen del Padre Amaro eventually moves and stirs you, even if it often resembles those steamy Mexican TV dramas/soap operas called telenovelas.
    • 42 Metascore
    • 63 Michael Wilmington
    Another of many recent Hollywood plotless wonders.
    • 63 Metascore
    • 63 Michael Wilmington
    At least the movie Pirates of the Caribbean is fun -- but only as long as you don't expect much. Take it from me: The ride is better.
    • 53 Metascore
    • 63 Michael Wilmington
    Slender but surprisingly smart and pleasing.
    • 56 Metascore
    • 63 Michael Wilmington
    An epic unhinged, and while its best sections suggest a Loony Tune done by Sam Peckinpah and Emilio Fernandez, "Mexico" needs to be even crazier than it is.
    • 50 Metascore
    • 63 Michael Wilmington
    It's stylish, it's sort of smart, it's full of misplaced talent. But it's not funny enough, and maybe, in a way, not dark enough either.
    • 45 Metascore
    • 63 Michael Wilmington
    Despite intelligent, sympathetic direction by Gordon, a brilliant lead performance by Robert Downey Jr. and an adapted script written by Potter himself before his 1991 death, this "Detective" pales next to its predecessor.
    • 28 Metascore
    • 63 Michael Wilmington
    There's something light and insubstantial about this movie. It almost floats away as you watch it.
    • 45 Metascore
    • 63 Michael Wilmington
    The Statement is an older man's film, and compassion is one of its strengths; Jewison and Caine make us feel pity and terror for the victims as well.
    • 45 Metascore
    • 63 Michael Wilmington
    The men here are negligible, but all the actresses are good -- especially Dunst, who shows a previously unrevealed gift for blending cold conservative roots, starchy appearance, forgiveness and unexpected redemption.
    • 71 Metascore
    • 63 Michael Wilmington
    Though one can question the movie's quality as a documentary -- Broomfield is a dogged but often annoying interviewer, and Churchill's photography is sometimes slapdash -- Aileen raises such troubling issues that it stays, hellishly, in your mind.
    • 59 Metascore
    • 63 Michael Wilmington
    This time around, the razors are a little duller, the clicks not as slick, the patter not as snappy.
    • 47 Metascore
    • 63 Michael Wilmington
    More spirit and grace and less blood and guts may be what Passion needs.
    • 54 Metascore
    • 63 Michael Wilmington
    A sometimes stirring, sometimes preposterous movie.
    • 46 Metascore
    • 63 Michael Wilmington
    Koepp, an often ingenious writer, should have followed King's example and covered his tracks better. If he had, Secret Window might have been as good as "Stir of Echoes," and not simply a mini "Misery" and a not-quite "Shining."
    • 43 Metascore
    • 63 Michael Wilmington
    Jersey Girl is an oddity, hard to dislike but impossible to buy.
    • 47 Metascore
    • 63 Michael Wilmington
    Man on Fire, which starts off as a good example of super-glitz moviemaking, gradually turns into a movie on fire -- another helter-skelter, big-studio spending spree. Too bad. It could use a lot more of Walken, Fanning and some more honest drama.
    • 71 Metascore
    • 63 Michael Wilmington
    It's an engrossing peek at an era that now seems as meteoric, crazy and distant as the Roaring Twenties.
    • 47 Metascore
    • 63 Michael Wilmington
    This often entertaining movie mixes grand, epic effects and amazing visualizations of catastrophe with a sappy family-in-crisis plot that would look hackneyed in a '60s Disney TV movie.
    • 42 Metascore
    • 63 Michael Wilmington
    Trying to be more antic and cuttingly funny, it misses the premise's shivery tension. The story loses us at precisely the moment it should put us in the vise.
    • 46 Metascore
    • 63 Michael Wilmington
    Overall, King Arthur sinks into a grim, gray torpor - though it's an odd, not unentertaining movie. The approach is different, if not edifying or convincing.
    • 63 Metascore
    • 63 Michael Wilmington
    The movie may lack a lot of things, but it doesn't lack comic timing--or, in its own way, a nose for the news.
    • 44 Metascore
    • 63 Michael Wilmington
    A big, creepy dollhouse of a movie--a sometimes engrossing shocker with a surprise ending that isn't especially shocking or surprising.
    • 56 Metascore
    • 63 Michael Wilmington
    Sweet-tempered, good-looking, goofy and not too sharp. The movie doesn't make much sense and neither does Danny, played by Welsh heartthrob Rhys Ifans.
    • 37 Metascore
    • 63 Michael Wilmington
    The script isn't really good enough to worry about whether it's being over-directed; in fact, E. Elias Merhige's over-direction is one of the best things about this movie--along with Ben Kingsley's grimly unstoppable killer-of-killers, Benjamin O'Ryan.
    • 39 Metascore
    • 63 Michael Wilmington
    Campbell and her character are willing to take chances. But Toback's tangled noirish plot, with Vera as a post-feminist femme fatale, isn't particularly clever or original.
    • 47 Metascore
    • 63 Michael Wilmington
    The movie tries hard to duplicate the original's mood and story, but, like Gere or Lopez, is too much of a visual knockout to rope us in.
    • 58 Metascore
    • 63 Michael Wilmington
    Likable as it is, suffers from that modern big-movie vice: overkill.
    • 53 Metascore
    • 63 Michael Wilmington
    Good in many ways, full of talent and intelligence, and marks the debut of a promising young American writer-director, Dan Harris.
    • 72 Metascore
    • 63 Michael Wilmington
    Melodrama triumphs. But here's at least some muted applause for a fine cast and filmmakers trying to confront the real world and its shadows.
    • 63 Metascore
    • 63 Michael Wilmington
    It's a tribute to Penn's talent and guts that he manages to bring it off--even if the movie doesn't.
    • 63 Metascore
    • 63 Michael Wilmington
    As a whole, though, the movie is much less magnetic or believable than its star.
    • 47 Metascore
    • 63 Michael Wilmington
    One of the most discouraging things about many big studio movies is the way they waste resources, mainly talent and money. Pushing Tin manages to waste an excellent cast, a glossy production and what initially seems to be a bright, funny script. [23 April 1999, Friday, p.A]
    • Chicago Tribune
    • 49 Metascore
    • 63 Michael Wilmington
    A wildly improbable story that neither Newman nor co-stars Fiorentino and Mulroney, for all their panache and chemistry, can make much sense of it.
    • 46 Metascore
    • 63 Michael Wilmington
    Far too self-absorbed a picture.
    • 64 Metascore
    • 63 Michael Wilmington
    A well-researched and well-illustrated, if often facetious, record of the U.S. government's longtime war on cannabis. And while it's a little too single-minded, it's both fun to watch and quite informative.
    • Chicago Tribune
    • 29 Metascore
    • 63 Michael Wilmington
    Tries to blend old film noir and new high-tech thriller styles with only sporadic impact.
    • Chicago Tribune
    • 35 Metascore
    • 63 Michael Wilmington
    It's a movie of elegant surfaces, great background music (by both the Mahlers), gossipy underpinnings and pretensions to romantic grandeur.
    • Chicago Tribune
    • 70 Metascore
    • 63 Michael Wilmington
    As Almereyda unrolled his modern Gotham version, the story became gripping, the characters fascinating, the events mesmerizing, the resolution shocking and piteous.
    • Chicago Tribune
    • 56 Metascore
    • 63 Michael Wilmington
    The movie isn't quite spry, warm or hip enough to carry out its very ambitious serio-comic agenda. Even for an ace like Levinson, Belfast is a long way from Baltimore.
    • Chicago Tribune
    • 67 Metascore
    • 63 Michael Wilmington
    This is a movie that really has little to offer but performances and ideas. For a while, that's enough.
    • Chicago Tribune
    • 30 Metascore
    • 63 Michael Wilmington
    Never really feels right.
    • 37 Metascore
    • 63 Michael Wilmington
    Even if you enjoyed the mean, funny 1995 John Travolta-Elmore Leonard crime comedy "Get Shorty"-and many of us did-this forced sequel isn't likely to help you repeat the experience.
    • 44 Metascore
    • 63 Michael Wilmington
    Good action movies live on style and excitement. But they also need credibility, and in Hostage, ALMOST a good genre piece, plausibility keeps getting slaughtered.
    • Chicago Tribune
    • 59 Metascore
    • 63 Michael Wilmington
    But the film disappoints, partly because it inspires such large expectations.
    • 53 Metascore
    • 63 Michael Wilmington
    As bizarre, provocative and almost deliberately off-putting an indie picture as anything that's popped up in theaters recently.
    • 40 Metascore
    • 63 Michael Wilmington
    I don't think it will seriously disappoint longtime fans, but it made me itchy as I watched it unfold in ways that the comics never did when I read them in the '60s.
    • 45 Metascore
    • 63 Michael Wilmington
    If you're looking for purple romance with a social conscience, it doesn't get much more purple than God's Sandbox.
    • 80 Metascore
    • 63 Michael Wilmington
    Sometimes one performance makes a film worthwhile, and Junebug has one: an astonishing, moving portrayal of down-home innocence and optimism by Amy Adams.
    • 46 Metascore
    • 63 Michael Wilmington
    Is this the modern version of "Going My Way," with those squabbling, heart-warming Irish Catholic priests mixing up pop songs and hymns? Well, in a way it almost is, though its mood is far different and it's set in a far different world that moves to a different tempo and has graver and more troubling social crises.
    • 62 Metascore
    • 63 Michael Wilmington
    In the third story, set in Asheville, N.C., that excellent actress Hunt guides us steadily through what could be a minefield of sentimentality.
    • 41 Metascore
    • 63 Michael Wilmington
    Despite the actors, the visuals and Forster's directorial swagger, the movie lacks impact.
    • 66 Metascore
    • 63 Michael Wilmington
    A bloody strange movie--and a surprise. Who would have thought that you could put together an anthology of "extreme" Asian horror featurettes by three cutting-edge Asian directors where the most tasteful, restrained contribution was the one by Japanese mad dog moviemaker Takashi Miike?
    • 56 Metascore
    • 63 Michael Wilmington
    Like the cerebral palsy-stricken Irish artist Christy Brown of "My Left Foot," Daniel Day-Lewis' Oscar-winning role, Ami is forced to fight such overwhelming odds to express himself that his very limitations become an aid to his vision.
    • 44 Metascore
    • 63 Michael Wilmington
    It's a bit too muddy, dismal-looking and smoky to beguile us, too fixated on filth and too dreary-looking to really shock us.
    • 53 Metascore
    • 63 Michael Wilmington
    Thanks to the actors and the way the movie lets them loose, it's often funny or moving at all the right moments.
    • 71 Metascore
    • 63 Michael Wilmington
    You either go for a movie like this or you don't. But though I didn't like it much, I've got to admit that The Descent is a nerve-jangler.
    • 45 Metascore
    • 63 Michael Wilmington
    Hoodwinked treats "Red Riding Hood" as a detective story we've never really understood until now, with nuttier motivations, more complex characters and a screwier climax.
    • 38 Metascore
    • 63 Michael Wilmington
    This Pink Panther really doesn't have to achieve the heights of the original; it just has to be funny on its own terms. But it pales there too. Kline, a master of comic hypocrisy, deserves more screen time, Emily Mortimer is wasted as Clouseau's adoring assistant Nicole and Knowles is over indulged as Xania.
    • 69 Metascore
    • 63 Michael Wilmington
    Proves, unhappily enough, how U.S.-style media politics is spreading around the world.
    • 69 Metascore
    • 63 Michael Wilmington
    In many respects, Forgiving Dr. Mengele is an ordinary documentary, stylistically and technically unexceptional. But its subject enobles the work. So does Kor : determined, indomitable, and by the end of the movie, a symbol herself of both survival and mercy.
    • 68 Metascore
    • 63 Michael Wilmington
    Democracy might not really come from a bottle of shampoo, but "Beauty Academy" teaches us that, sometimes, mascara really matters.
    • 54 Metascore
    • 63 Michael Wilmington
    As a director, Buscemi is drier than he is as a performer: more quietly funny, less intense and sometimes weirdly compassionate.
    • 41 Metascore
    • 63 Michael Wilmington
    It's a depressing story made even more of a downer by the absence of any Stones-performed music from their prime '60s years.
    • 62 Metascore
    • 63 Michael Wilmington
    A confessional film that's almost too confessional--is like getting buttonholed by a casual acquaintance at a party and then subjected to a flood of highly intimate revelations that just don't stop.
    • 33 Metascore
    • 63 Michael Wilmington
    RV
    Robin Williams is such a great comic virtuoso that it can almost hurt to see him straining to pump life into a conventional, uninspired, sometimes-goofy big-studio comedy such as RV.
    • 58 Metascore
    • 63 Michael Wilmington
    An offbeat, poetic piece that eschews the terse, hard-boiled style of the standard cop movie or TV show for something softer-centered and more nakedly emotional.
    • 58 Metascore
    • 63 Michael Wilmington
    Disappointingly, X-Men: The Last Stand slides back between the first two episodes. It's not stuporous, and it's not super.
    • 67 Metascore
    • 63 Michael Wilmington
    Russian Dolls, like "L'Auberge," has an excellent cast (mostly the same one, in fact) and an impish style and speed that gives it more obvious audience appeal than the average French film.
    • 58 Metascore
    • 63 Michael Wilmington
    The King simply unsettles and bothers us -- and it finally misses both the true terror and the twisted redemption it needs for its wicked song, a would-be "Heartbreak Hotel" of horror, to really chill our spines.
    • 65 Metascore
    • 63 Michael Wilmington
    Begins like a house afire and then fizzles out into a quasi-supernatural dead end.
    • 70 Metascore
    • 63 Michael Wilmington
    A ridiculous but exciting action movie.
    • 40 Metascore
    • 63 Michael Wilmington
    An independent American art film that seems to be masquerading as Victorian-era pornography--and it's not quite as interesting or provocative as that description might make it sound.
    • 46 Metascore
    • 63 Michael Wilmington
    It's a slick, ambitious movie that doesn't always nail all the many moods and themes it's after.
    • 49 Metascore
    • 63 Michael Wilmington
    A movie of such cheerful craziness and nonstop ferocity that you can't take it seriously for a second.
    • 74 Metascore
    • 63 Michael Wilmington
    The subject of Iraq haunts and divides us so much these days that a film like Laura Poitras' documentary My Country My Country is valuable, no matter its level of achievement.
    • 52 Metascore
    • 63 Michael Wilmington
    A stylish, nasty, very well-done Belgian horror movie.
    • 84 Metascore
    • 63 Michael Wilmington
    The film's mood and style are pitched somewhere between '60s American indie and French New Wave and, as you watch these people, they seem painfully, amusingly on-target. They may irritate you a little, but that's the right response.
    • 51 Metascore
    • 63 Michael Wilmington
    Probably the last movie to carry a credit for the late Christopher Reeve--as well as the last credit for Reeve's late wife, Dana.
    • 56 Metascore
    • 63 Michael Wilmington
    Harsh Times, is almost a good, salty urban thriller.
    • 49 Metascore
    • 63 Michael Wilmington
    Love can be a battleground, and, despite its homey-sounding title and gentle, almost nonchalant air, Jeff Lipsky's Flannel Pajamas gives us a series of messages from the front.
    • 51 Metascore
    • 63 Michael Wilmington
    It's possible to admire or respect a movie without enjoying it too much, and that's partly the reaction I had to Darren Aronofsky's The Fountain. It's an incredibly ambitious film of sometimes thrilling visual achievement, but it didn't connect fully to my mind and nerves.
    • 47 Metascore
    • 63 Michael Wilmington
    It's a fairly well-written piece and an even better acted one. And these days, when independent films are increasingly the salvation of the serious American dramatic movie, it's heartening to see something like The Architect, which tries to reawaken a major American dramatic tradition and sometimes succeeds.
    • 53 Metascore
    • 63 Michael Wilmington
    Highway Courtesans carries a feeling of truth, of bravely facing problems that are pressing and real. It's a good, informative piece on the oldest profession--and on how the world differs from what we usually see in the movies.
    • 54 Metascore
    • 63 Michael Wilmington
    Considering how good "Puccini's" middle often is, it's a shame it falls down fore and aft. But Maggenti, who loves Carole Lombard and William Powell in "My Man Godfrey," is tapping a likable vein here. She should open it up again.
    • 73 Metascore
    • 63 Michael Wilmington
    The movie, like Smith, is breezy, fun and keeps comin' at ya. [22 Dec 2006, p.5]
    • Chicago Tribune
    • 54 Metascore
    • 63 Michael Wilmington
    The content may be dubious, but the execution is hypnotic.
    • 44 Metascore
    • 63 Michael Wilmington
    Mary Reilly is a thinking person's horror movie, done with such obvious intelligence and artistry that it feels strange to watch it and be so unmoved. [23 Feb 1996]
    • Chicago Tribune
    • 43 Metascore
    • 63 Michael Wilmington
    M. Butterfly, David Cronenberg's visually stunning but oddly cold and sparkless adaptation of the much-prized David Henry Hwang play. [08 Oct 1993]
    • Chicago Tribune
    • 72 Metascore
    • 63 Michael Wilmington
    The late U.S. Rep. Sonny Bono and his widow and successor Mary Bono have spent a good deal of time trying to save it. It's a hard task, but the film does suggest there's more to the sea than meets the eye.
    • 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
    • 52 Metascore
    • 63 Michael Wilmington
    Strikes me as something of an elaborate mistake, a wasted opportunity and a script Hartley should have discarded. But I liked it anyway.
    • 48 Metascore
    • 63 Michael Wilmington
    So stunningly shot and visualized--and scored so hauntingly well by Anja Garbarek, the daughter of saxophonist/composer Jan Garbarek--that it works even if you don't pay attention to the story. Maybe it works better that way.
    • 69 Metascore
    • 63 Michael Wilmington
    Pugach's selfishness, his inability to detach love from gratification, is the key to this crazy story.
    • 62 Metascore
    • 63 Michael Wilmington
    Director Suri Krishnamma, depends on Finney for its power. His great performance carries the film over its shallow spots, its wish fulfillment, its pull toward caricature. [03 Feb 1995]
    • Chicago Tribune
    • 67 Metascore
    • 63 Michael Wilmington
    There's something in Shallow Grave that is admirable, beyond its obvious display of youthful talent. [24 Feb 1995]
    • Chicago Tribune
    • 67 Metascore
    • 63 Michael Wilmington
    While the movie is never dull, its romantic fodder doesn't do justice to any period at all.
    • 53 Metascore
    • 63 Michael Wilmington
    Kika is kind of a mess. But it's a charming, stimulating, talented and ingratiating mess, none-the-less.
    • 48 Metascore
    • 63 Michael Wilmington
    The Theory of Flight is built from the kind of material that either soars or crashes with audiences. And here, it doesn't quite hold together. But if the film, as a whole, never takes flight, the actors do. Watching them bicker and sail up is so delightful, you only wish their vehicle could keep them aloft longer.
    • 56 Metascore
    • 60 Michael Wilmington
    Like the movies its modeled after, it's shallow, frequently silly. But there's something about the mix--maybe something about Parillaud as the screechy, dangerous Nikita--that may make the movie a powerful engine of wish-fulfillment. [12 Apr 1991, Calendar, p.F-10]
    • Los Angeles Times
    • 51 Metascore
    • 60 Michael Wilmington
    The best thing about High Heels are the performances - [Victoria Abril]'s tense, voracious daughter, Parades' star-turn mother, the sinister Bose, the arrogant Atkine - and the lucidity of Almodovar's narrative style, which by now seems as natural as breathing. [20 Dec 1991]
    • Los Angeles Times
    • 51 Metascore
    • 60 Michael Wilmington
    The movie is like a big, smug, sunny ball of fluff, batting around in a crystalline cage. It's bright and well-meaning, but there's little to grab onto or feel. Not even the presence of those expert actor/farceurs, Steve Martin and Diane Keaton, give it any real presence or bite. [20 Dec 1991, p.16]
    • Los Angeles Times
    • 53 Metascore
    • 60 Michael Wilmington
    Most of the rest of this Hamlet effective or lovely as parts of it may be, just keeps sawing at the air in a drafty hall and pouring all its light on Mel Gibson and his angelic stubble. [18 Jan 1991]
    • Los Angeles Times
    • 48 Metascore
    • 60 Michael Wilmington
    There are misfires in Sucka, but there's also some funny stuff. Wayans shows a refreshing taste for self-mockery. [17 Feb 1989, p.8]
    • Los Angeles Times
    • 63 Metascore
    • 60 Michael Wilmington
    Midway through The Lost Boys there's a brief scene that suggests the magic and power it could have had. This scene suggests a fable of seductive evil-but nothing in the movie is ever half as evocative again. It's more lost than the Boys: a glossy fiasco with most of the real blood sucked out of it.
    • Los Angeles Times
    • 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
    • 50 Metascore
    • 60 Michael Wilmington
    To give the movie its due, it's been directed, at least on the visual level, with unusual elegance: filled with graceful, gliding tracking shots, and icily precise Hitchcockian setups of the bleak decor and scary effects.
    • 39 Metascore
    • 50 Michael Wilmington
    A shiny bauble full of dead weight, gloppy good feeling and airless cliches. And every time you try to grab onto "Bride's" characters, they run away. [30 July 1999]
    • Chicago Tribune
    • 37 Metascore
    • 50 Michael Wilmington
    Though they're a good pair (Hopkins and Rock), this isn't a very good movie. It's slick but hollow.
    • 56 Metascore
    • 50 Michael Wilmington
    Tries for both civilized wit and primitive joy -- and mostly misses both.
    • 56 Metascore
    • 50 Michael Wilmington
    Minimalism be damned; even a postmodern noir needs more than Minus Man gives us. So do the actors.
    • 38 Metascore
    • 50 Michael Wilmington
    A feast of bad taste, a demonic hog-wallow.
    • 38 Metascore
    • 50 Michael Wilmington
    A wild, wanton and wasteful western farce that's so overblown and underwritten it almost makes you cringe to watch it.
    • 49 Metascore
    • 50 Michael Wilmington
    A business-as-usual blockbuster blueprint that rarely surprises you.
    • 33 Metascore
    • 50 Michael Wilmington
    It's a Hitchockian "wrong man" story, but there's a twist.
    • Chicago Tribune
    • 57 Metascore
    • 50 Michael Wilmington
    Weighed down by the presence of Griffith. She plays her satiric part without much gusto or conviction - as if she were afraid we might believe she really is Honey.
    • Chicago Tribune
    • 39 Metascore
    • 50 Michael Wilmington
    Shot in Chicago, this is a picture that looks better than it sounds and is made much better than it deserves to be.
    • Chicago Tribune
    • 32 Metascore
    • 50 Michael Wilmington
    A pretty good film, acted powerfully .
    • 38 Metascore
    • 50 Michael Wilmington
    A cute, well-acted film that tries to mix tones sharply.
    • Chicago Tribune
    • 49 Metascore
    • 50 Michael Wilmington
    A pumped-up, flag-waving, outrageously hokey and ridiculous -- but sometimes incredibly exciting -- war movie.
    • 39 Metascore
    • 50 Michael Wilmington
    The trajectory of the film -- despite its excellent cast and intelligent mounting -- is too preordained.
    • 33 Metascore
    • 50 Michael Wilmington
    An overblown, overspectacular, oversold movie without an original idea in its head.
    • Chicago Tribune
    • 36 Metascore
    • 50 Michael Wilmington
    This film has so many good ideas, it tends to seem better after you've left the theater. But the mock TV stuff is just too faux to be funny.
    • Chicago Tribune
    • 43 Metascore
    • 50 Michael Wilmington
    Much of this movie seems a crock.
    • Chicago Tribune
    • 45 Metascore
    • 50 Michael Wilmington
    Two gifted co-stars, Denzel Washington and Angelina Jolie, and the highly imaginative thriller specialist Phillip Noyce lend some luster and credibility to another borderline-absurd scenario.
    • Chicago Tribune
    • 42 Metascore
    • 50 Michael Wilmington
    Has heart, but lacks bite.
    • Chicago Tribune
    • 34 Metascore
    • 50 Michael Wilmington
    Has the air of a film and actor (Beatty)reaching clumsily for a golden past that's gone.
    • Chicago Tribune
    • 49 Metascore
    • 50 Michael Wilmington
    This rich, gorgeous music and the wistful pastoral scenes create a rhapsodic mood that the rest of the film doesn't really sustain.
    • Chicago Tribune
    • 52 Metascore
    • 50 Michael Wilmington
    May be the only movie in recent memory unworthy of its own genuinely hilarious Web site, www.finemanfilms.com.
    • 47 Metascore
    • 50 Michael Wilmington
    Wacky and heartless, bloody and silly -- and it ends in a flourish of grotesque sentimentality.
    • 53 Metascore
    • 50 Michael Wilmington
    Hobbled with pedestrian direction, a dull visual style and a last act awash in obvious bang-bang melodrama.
    • 61 Metascore
    • 50 Michael Wilmington
    This one's worth the ticket price only if you are a showbiz-aholic.
    • Chicago Tribune
    • 44 Metascore
    • 50 Michael Wilmington
    All Center of the World has is the double entendre of its title, some unremarkable dramatic and sex scenes, and some embarrassing moments for its very game co-stars.
    • Chicago Tribune
    • 45 Metascore
    • 50 Michael Wilmington
    Written with such murderous gravity, certainty and gloomy solemnity - such an absence of real life or feeling - that it tends to kill our interest.
    • 42 Metascore
    • 50 Michael Wilmington
    It's a movie that robs the story of its politics and point and never really matches the charm of the '60s film.
    • 33 Metascore
    • 50 Michael Wilmington
    Ragged as some of it might have been, that old "Out-of-Towners" had a unified and surprisingly dark comic vision to go with its nifty one-liners. This big, glossy picture is set in movie-movie land, that shiny, peachy place where a celebrity -- like Mayor Rudy -- waits around every corner. [2 April 1999, Friday, p.A]
    • Chicago Tribune
    • 45 Metascore
    • 50 Michael Wilmington
    The sum of all snores until the moviemakers start blowing up Baltimore halfway through. Then the special-effects people take over for about 20 breathless minutes.
    • 46 Metascore
    • 50 Michael Wilmington
    For about half its length, Ravenous is a fairly effective scare picture, with a laugh or two. Then it just goes sour and pretentious. [19 March 1999, Friday, p.D]
    • Chicago Tribune
    • 61 Metascore
    • 50 Michael Wilmington
    This seems to be a movie made by people who love the old classic movie swashbucklers but don't have a clue how to make or modernize them.
    • 53 Metascore
    • 50 Michael Wilmington
    At least Reno is around -- and he's the only spice in this stale, slick stew
    • 32 Metascore
    • 50 Michael Wilmington
    So fast, sleek and riveting it almost makes you expect miracles -- which never materialize.
    • 54 Metascore
    • 50 Michael Wilmington
    A wildly expensive movie full of computers, nonsense and violence, a film where wit, romance, elegance -- everything -- is sacrificed on the altar of giganticism, cliche and over-the-top action.
    • 12 Metascore
    • 50 Michael Wilmington
    A smorgasbord of bad ideas, sumptuously over-realized.
    • 51 Metascore
    • 50 Michael Wilmington
    A funny movie, but like "Josh" himself, it's too self-absorbed, and maybe too nice, for its own good.
    • 32 Metascore
    • 50 Michael Wilmington
    "Masked" is erratic and volatile, too, from scene to scene, moment to moment. The script is chaotic, but the top-flight actors play their hearts out.
    • 63 Metascore
    • 50 Michael Wilmington
    A tasteful, intelligent, well-acted film about one of the most ghoulish serial killers in American crime history - and I'm afraid that's a good part of what's wrong with it.
    • 48 Metascore
    • 50 Michael Wilmington
    Elaborate misfire, which misuses an unusually good cast.
    • 39 Metascore
    • 50 Michael Wilmington
    A likable little movie without much to offer but cute tots, recycled gags and a talented cast amiably wasting their time and ours.
    • 44 Metascore
    • 50 Michael Wilmington
    Movies made from serious novels are often ridiculed as unworthy of their sources, but this one may be too worthy -- too reverent, too showy, too earnest.
    • 47 Metascore
    • 50 Michael Wilmington
    An expensive-looking new detective thriller that should have been much better.
    • 33 Metascore
    • 50 Michael Wilmington
    Kirk Douglas' performance...is so strong and inspiring it's a shame there isn't a better movie around it.
    • Chicago Tribune
    • 43 Metascore
    • 50 Michael Wilmington
    American Pie 2, which brings back the same cast for more of the same, is just another by-the-numbers, money-hungry sequel with a lot of recycled shaggy-sex jokes and gross-out gags.
    • 67 Metascore
    • 50 Michael Wilmington
    To say Enemy of the State is senseless is an understatement. This is a movie where logic is the enemy.
    • 35 Metascore
    • 50 Michael Wilmington
    Fast-moving shocker, but it's a dull shocker, so morally dead that it deadens you to watch it. After a while you couldn't care less if anyone is slaughtered or raped -- including the heroines.
    • 47 Metascore
    • 50 Michael Wilmington
    It’s a big, frothy, high-tech, cutesy-poo musical comedy.
    • 63 Metascore
    • 50 Michael Wilmington
    Spectacular, fast, never boring. But it's also one of the more disappointing movies I've seen recently.
    • 49 Metascore
    • 50 Michael Wilmington
    A limply derivative, disappointingly trivial and hokey fish-out-of-water crime comedy.
    • 47 Metascore
    • 50 Michael Wilmington
    It's really a crock: a coming-of-age boys' prison film that has only a fanciful link with Behan's life. The film is a bastard grandchild of Tony Richardson's 1962 "The Loneliness of the Long Distance Runner."
    • 45 Metascore
    • 50 Michael Wilmington
    Should have worked on our emotions like a scalpel, made us cry and bleed. But, though it's an affecting, polished film, it's not satisfying. [12 March 1999, Friday, p.A]
    • Chicago Tribune
    • 39 Metascore
    • 50 Michael Wilmington
    Strikes me as a pure, unadulterated crock. [12 February 1999, Friday, p.A]
    • Chicago Tribune
    • 53 Metascore
    • 50 Michael Wilmington
    It's one of those fast, slick, half-smart shows that can't decide whether to pay its debts to action or reality -- and winds up cheating both.
    • 46 Metascore
    • 50 Michael Wilmington
    There are no surprises in this movie -- not even in the Bollywood parodies, when the hero and heroine finally, subversively kiss. There is talent, though.
    • 9 Metascore
    • 50 Michael Wilmington
    Scientology or not, the movie is a battlefield bummer that makes you want to revolt.
    • Chicago Tribune
    • 38 Metascore
    • 50 Michael Wilmington
    A dark comedy that blows up like an exploding cigar, leaving nothing much behind but smoke, noise and a bad taste.
    • 73 Metascore
    • 50 Michael Wilmington
    A light, breezy, often charming little film, with a good cast playing mostly shallow characters.
    • Chicago Tribune
    • 27 Metascore
    • 50 Michael Wilmington
    Sometimes funny, often strained comedy.
    • 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.
    • 46 Metascore
    • 50 Michael Wilmington
    Like too many movies these days, takes a clever little idea and all but pounds it into the ground.
    • 68 Metascore
    • 50 Michael Wilmington
    Drably shot, unimaginatively written and shallowly acted, it's a poor example of the "daffy, goofy, sex-crazed guys" occupational comedies that flourished throughout the job-obsessed '80s. [19 Feb 1999]
    • Chicago Tribune
    • 53 Metascore
    • 50 Michael Wilmington
    This pretty but witless movie is well-produced, slickly directed -- full of jokes about hot dudes and hot babes pitched right at the "American Pie" crowd.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Michael Wilmington
    An irritation, more fizzle than sizzle.
    • 70 Metascore
    • 50 Michael Wilmington
    A bright and zippy, but alarmingly over-campy and lighter-than-fluff cartoon feature.
    • Chicago Tribune
    • 43 Metascore
    • 50 Michael Wilmington
    Tries to take us from heaven to hell but winds up leaving us in limbo: exasperated and dumfounded.
    • Chicago Tribune
    • 59 Metascore
    • 50 Michael Wilmington
    By creating a kind of politically correct version of Andy Griffith's "Mayberry," director Bezucha has drained the movie not only of bigotry but also of dramatic conflict.
    • Chicago Tribune
    • 32 Metascore
    • 50 Michael Wilmington
    Soft and predictable -- which might be OK if there were more laughs and insight.
    • Chicago Tribune
    • 45 Metascore
    • 50 Michael Wilmington
    A dumb movie, but it's also a knowing one: a cheap castle of lewd trivia and corny excitement built on The Rock.
    • 37 Metascore
    • 50 Michael Wilmington
    Unfortunately, the humans only have scripts to support them. So for every bear triumph, Country Bears also features cliched jokes, corny sentiment, ludicrous shtick and the most flabbergasting set of star cameos since Martha Stewart and Michael Jackson wandered into "Men in Black II."
    • 50 Metascore
    • 50 Michael Wilmington
    A lively little Australian rock movie hamstrung and sunk by one of the least successful story ideas I've seen recently.
    • 39 Metascore
    • 50 Michael Wilmington
    Pearce and Bonham Carter are remarkably photogenic, but the movie is fitful and mannered to a fault, full of watery allusions and stormy scares.
    • 42 Metascore
    • 50 Michael Wilmington
    Slick, expensive and filled with good-looking actors flexing muscles, but once it grabs our attention it doesn't really reward it...this movie doesn't have fear -- or sheer wonder and marvel -- enough.
    • 49 Metascore
    • 50 Michael Wilmington
    A ravishing crock. Like its title character, a computer-generated movie star programmed to resemble a cross between Grace Kelly, Audrey Hepburn, Lauren Bacall and Kim Basinger, it's beautiful but empty, gorgeous but spurious.
    • 73 Metascore
    • 50 Michael Wilmington
    Boyle's new movie is mostly a zombie fiasco, closer to the vacuities of "The Beach" than the scintillating social satire of "Trainspotting."
    • 36 Metascore
    • 50 Michael Wilmington
    Stolen Summer is no disaster, though. It's merely one more misfire fortunate enough to attract actors like Bonnie Hunt and Aidan Quinn, who almost make it work.
    • 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.
    • 33 Metascore
    • 50 Michael Wilmington
    Not a picture that makes you think very much -- except to wonder why the studios keep making movies like this.
    • 70 Metascore
    • 50 Michael Wilmington
    Freaky Friday commits a lot of sins; luckily, it has Curtis and a few others to cover them up.
    • 63 Metascore
    • 50 Michael Wilmington
    Fessenden cooks up a likably offbeat horror movie. But somehow, it never jells, never really scares us.
    • 55 Metascore
    • 50 Michael Wilmington
    Does have heart and enthusiasm. But it might have worked better if it had been glitzed up and energized the way "Fame" was. It's not a script that can survive this kind of minimal, earnest, self-congratulatory treatment.
    • 41 Metascore
    • 50 Michael Wilmington
    Likable but relentlessly trivial.
    • 38 Metascore
    • 50 Michael Wilmington
    May try to revive the eerie spirit of the Gothic novel, but, unless you're suffering from amnesia yourself, it probably won't surprise or thrill you.
    • 43 Metascore
    • 50 Michael Wilmington
    Unfortunately, after watching Paycheck, you may wish you had the picture's gimmickry at your disposal, so you could erase your own memory of it.
    • 52 Metascore
    • 50 Michael Wilmington
    Should please its core audience, which includes anyone who might actually want to win a date with Tad Hamilton. Others may opt to wait for another date with Kate Bosworth -- or Nathan Lane.
    • 45 Metascore
    • 50 Michael Wilmington
    An odd mix itself, of contemporary sexual realism and unabashed romantic fantasy. If "Days" works, it's mostly on a sheer fantasy level.
    • 26 Metascore
    • 50 Michael Wilmington
    A neo-noir movie nightmare gone sadly wrong.
    • 52 Metascore
    • 50 Michael Wilmington
    When the crashing chords and defiant lyrics of "Be the Rain" close things out, there's a burst of idealism and energy that redeems everything. If you see Greendale, treat the movie charitably and dig the music.
    • 50 Metascore
    • 50 Michael Wilmington
    Isn't good satire or good slapstick. It does have those lyrical, catchy Menken tunes, and the film perks up whenever Raitt or lang sing one of them. But much of this movie is deadly.
    • 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.
    • 40 Metascore
    • 50 Michael Wilmington
    This genuinely ambitious and accomplished Chicago production does have strong points, not the least of which is Lana herself. When the fiery, emotionally transparent Orlenko lets her talent and presence pour down on Lana's Rain, the movie springs to life.
    • 38 Metascore
    • 50 Michael Wilmington
    It's a middling film that wastes a lot of good opportunities, as well as two fine, charming co-stars.
    • 64 Metascore
    • 50 Michael Wilmington
    It's fairly entertaining--but not the second coming of indie comedy some notices might lead you to expect.
    • 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
    • 40 Metascore
    • 50 Michael Wilmington
    To work, it has to make us feel crazy with love, like "Vertigo" did. Instead, it often just makes us feel crazy for believing any of it.
    • 60 Metascore
    • 50 Michael Wilmington
    Slickly produced, well cast and very excitingly made, it's based on plot hooks so silly, most of them blow up in your face.
    • 59 Metascore
    • 50 Michael Wilmington
    It's a harmless enough movie, and quite a good-looking one; Bettany and Dunst are an attractive enough couple, even if Lizzie has been written as a selfish little snip and he as a whining man-child.
    • 40 Metascore
    • 50 Michael Wilmington
    Townsend seemed to me ill-matched as a romantic hero: way too moony-eyed and mushy to cope with the likes of the towering Theron and torchy Cruz.
    • 62 Metascore
    • 50 Michael Wilmington
    A comedy that seems to have most everything going for it but the ability to make us laugh.
    • 57 Metascore
    • 50 Michael Wilmington
    It's a nice little film, likable but not exceptional, and it will probably appeal most strongly to actors, would be-actors, wannabes and ex-actors.
    • Chicago Tribune
    • 49 Metascore
    • 50 Michael Wilmington
    There's barely a scene in this movie that taps his (Murphy) special brilliance.
    • 70 Metascore
    • 50 Michael Wilmington
    For all Ricci's zingers, the actress who gets the most laughs here is Kudrow, who has an amazingly right-on offbeat comic sense and rhythm. Playing a bright, sexually repressed Indiana teacher, she displays priceless timing. [19 June 1998]
    • Chicago Tribune
    • 27 Metascore
    • 50 Michael Wilmington
    Won't make your day, but it won't kill it either.
    • 58 Metascore
    • 50 Michael Wilmington
    The movie, like Hitch, tries to be cool, funny and sweet but falls on its face without generating any real sympathy, smarts or humor.
    • 50 Metascore
    • 50 Michael Wilmington
    Though the story is potentially fascinating and the visuals sometimes spellbinding, the movie itself is stranded in the purgatory of the second-rate.
    • 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.
    • 63 Metascore
    • 50 Michael Wilmington
    It's a bizarre but engaging fling.
    • 44 Metascore
    • 50 Michael Wilmington
    Despite some impressive technical achievements, it too looks like a movie with little reason for being.
    • 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.
    • 46 Metascore
    • 50 Michael Wilmington
    Has the worst happy ending I've seen in a while.
    • 55 Metascore
    • 50 Michael Wilmington
    This romantic-comedy action movie is a fizzle.
    • 34 Metascore
    • 50 Michael Wilmington
    An uninspired misfire of a TV-series knockoff that, despite its great cast and smart filmmakers, never manages to scare up much magic.
    • 35 Metascore
    • 50 Michael Wilmington
    Though Stealth's strengths are obvious -- high-tech marvels and a good cast -- so are its flaws. At its worst moments, a mad robot seems to have taken over the movie, too.
    • 45 Metascore
    • 50 Michael Wilmington
    This isn't a particularly good movie, and it's offensive in the way mid-range low-budget slasher shows usually are. But it works better than some, largely because Etheredge-Ouzts has a more original slant and a deeper sense of character than horror movies usually allow.
    • 58 Metascore
    • 50 Michael Wilmington
    I found nothing likable or funny about either of these characters, who both deserve a pie in the face. (One of them even gets it.)
    • 66 Metascore
    • 50 Michael Wilmington
    At its best, Transamerica made me laugh and feel for Bree. At its worst, it made me cringe at the potential creepiness of its central relationship.
    • 51 Metascore
    • 50 Michael Wilmington
    Like its title heroine, it's sparkly, pretty and flirty--but often all wet.
    • 43 Metascore
    • 50 Michael Wilmington
    In movies as in life, superior technology doesn't necessarily trump humor, magic or really shaggy dogs.
    • tbd Metascore
    • 50 Michael Wilmington
    Though the movie is pretty stereotypical and sometimes crude, it also has a sweet laid-back temper. It has amusing moments.
    • 46 Metascore
    • 50 Michael Wilmington
    As silly movies go, this one is at least pretty exciting. But in the end, Typhoon leaves you feeling as exiled from the two Koreas as Sin is.
    • 46 Metascore
    • 50 Michael Wilmington
    For all its crashes and flash, this is a movie that drifts away as we watch it. Muscle cars and all, it's often a waste of gas.
    • 48 Metascore
    • 50 Michael Wilmington
    One of those movies that promises much but doesn't deliver. Despite a lot of misplaced talent, this movie is as silly and forced as its title.
    • 56 Metascore
    • 50 Michael Wilmington
    This is a picture in which the barf scenes standard in the usual crude youth comedies aren't gratuitous. They're logical climaxes.
    • 30 Metascore
    • 50 Michael Wilmington
    There's nothing classic about Surviving Eden, even if it is better than reality TV.
    • 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.
    • 52 Metascore
    • 50 Michael Wilmington
    As sports movies go, Gridiron Gang isn't bad, just not top-line material.
    • 65 Metascore
    • 50 Michael Wilmington
    The film's triple thesis is that elections are run badly, Democrats are often clueless and Republicans are clever. Maybe--but that still leaves too many unanswered questions.
    • 57 Metascore
    • 50 Michael Wilmington
    A modernized version of that great sentimental horse movie, 1943's "My Friend Flicka," and it comes with the shiny trappings, high professionalism and glamorous accessories you might expect...Something is missing though.
    • 57 Metascore
    • 50 Michael Wilmington
    The results aren't gothic and bloody, as they were in the Lauren Bacall film "The Fan," or elegant and ironic as in the Bette Davis classic "All About Eve"--though the plot suggests a bit of both.
    • 55 Metascore
    • 50 Michael Wilmington
    A commendably brave piece, but less focused and powerful than you'd like. In the end, Garapedian might have been better off concentrating her energy on the 1915 Armenian story--which has been told on film various times (for example, in "Forty Days of Musa Dagh" and Atom Egoyan's "Ararat"), but never with the power of, say, "The Pianist" or "Schindler's List."
    • 45 Metascore
    • 50 Michael Wilmington
    It's lively but chaotic and evasive. The period re-creation switches on and off. We get a sense of what the silver-walled Factory was like, but not the rest of swinging Manhattan in the '60s.
    • 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
    • 50 Michael Wilmington
    With his brazen gifts for mimicry, Eddie Murphy may now be the Peter Sellers of blockbuster toilet comedy movies.
    • 59 Metascore
    • 50 Michael Wilmington
    The sense of the unknown that "Padgett" created are largely absent. And the movie fails to supply us with an antagonist to work up some dramatic conflict. Nor are the toys themselves very interesting and Mimzy is a toy bunny of no distinction.
    • 62 Metascore
    • 50 Michael Wilmington
    For all its glitz and gadgets, is markedly inferior in everything but teen appeal.
    • 29 Metascore
    • 50 Michael Wilmington
    A bizarre, bloody adventure movie.
    • 46 Metascore
    • 50 Michael Wilmington
    Without Lemmon and Matthau, it's doubtful either "Grumpy" movie would be worth watching -- or even thinking about. But, because these two get much of their humor from reactions, the magnificent friction they create, they can say ridiculous things -- or even make up ridiculous lines (which they seem to be doing here) -- and make the scenes play. [22 Dec 1995, p.P]
    • 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.
    • 32 Metascore
    • 50 Michael Wilmington
    Something about baseball seems to bring out the silly side in moviemakers -- even in a movie like The Fan, which starts out well-crafted and deadly serious and seems to have good enough actors and a savvy enough director to stay that way. But halfway through this thriller things go haywire. [16 Aug 1996, p.D]
    • Chicago Tribune
    • 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
    • 51 Metascore
    • 50 Michael Wilmington
    Irwin Winkler's The Net, which should have worked a lot better than it does, is a glossy, intricately plotted, mostly implausible suspense movie about a woman on the run.
    • 60 Metascore
    • 50 Michael Wilmington
    Beyond some well-observed sibling interaction, the mutual effort of four writers is mutually uninspired. Whoever wrote the episodes between hot-to-trot Jojo (Taylor) and her balky boyfriend Bill (D'Onofrio) should be ashamed. [21 Oct 1988]
    • Los Angeles Times
    • 46 Metascore
    • 50 Michael Wilmington
    Newsies becomes a string of set-pieces, some of which work, some of which don't, all barreling full-speed ahead toward its Teddy Roosevelt deus ex machina. [10 Apr 1992]
    • Los Angeles Times
    • 67 Metascore
    • 50 Michael Wilmington
    At bottom, Lethal Weapon isn't much. It's a big, shallow, flashy, buddy-buddy cop thriller; it attacks you like a stereophonic steamroller, flattening everything behind it. Snatches of "Hustle" "Magnum Force" and "48 HRS." float above this plot like scum on a polluted lake, and the holes in logic and mindless climax are (or should be) embarrassing. [6 Mar 1987, p.4]
    • Los Angeles Times
    • 49 Metascore
    • 50 Michael Wilmington
    In the end, it all can't help feeling a little slight, more a pleasant wade into a writer's neurotic playground than a satisfyingly deep dip.
    • 41 Metascore
    • 50 Michael Wilmington
    It's overwhelming and, in a curious way, it's charming, but at the center, even though you see it in the right place, you detect not a heart, or a mind, but something like a hot, roasted marshmallow beating and burbling within a thickened, ursine breast.
    • 63 Metascore
    • 50 Michael Wilmington
    In a weird way, what happens to the kids is what happens to the movie. The humans shrivel to crawling piffles or get deformed into caterwauling robots; the super-tall grass and the giant cookies and insects take over.
    • 59 Metascore
    • 50 Michael Wilmington
    Although Alien 3 is stylish--and ambitious--the movie doesn't have the soul or guts to sustain that ambition. It gets swallowed up in its own technology and genre expectations. And Fincher gets stalled in the drama, trapped in too many scenes of talking heads looming out of the gloom.
    • 41 Metascore
    • 40 Michael Wilmington
    Trumbo's aim was a kind of proletarian poetry, but McKenzie's broad emoting has the deadly earnestness of a school play.
    • 44 Metascore
    • 40 Michael Wilmington
    It's hard to remember when actors have stepped into such a no-win situation and mustered up such panache: Turturro may be on a sinking ship, but he manages to drown brilliantly.
    • 45 Metascore
    • 38 Michael Wilmington
    Falls flat on its face.
    • 21 Metascore
    • 38 Michael Wilmington
    A mind-numbing, bloody, ridiculous experience.
    • Chicago Tribune
    • 25 Metascore
    • 38 Michael Wilmington
    An almost terminally sappy youth romance.
    • Chicago Tribune
    • 43 Metascore
    • 38 Michael Wilmington
    In this bizarre tale of man among the apes and a psychiatrist among madmen -- an over-emotional hybrid of "Gorillas in the Mist" and "One Flew Over the Cuckoo's Nest" -- style buries substance.
    • 35 Metascore
    • 38 Michael Wilmington
    How is it possible that actors as expert as Close and Depardieu can wind up together in a mostly brainless big-budget stinker?
    • Chicago Tribune
    • 44 Metascore
    • 38 Michael Wilmington
    One more movie comedy about how love can turn you into an idiot. And its major flaw, among many others, is that the idiocy takes over the movie.
    • Chicago Tribune
    • 44 Metascore
    • 38 Michael Wilmington
    An oppressively cute Manhattan time-travel romantic comedy that’s lost in time, space and cliches.
    • 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
    • 38 Michael Wilmington
    Accomplishes something I would have thought impossible. It made me appreciate its 1994 predecessor, "The Flintstones."
    • Chicago Tribune
    • 24 Metascore
    • 38 Michael Wilmington
    A fast, slick, outlandish fiasco that starts out well and then seems to drop right off a cliff.
    • 36 Metascore
    • 38 Michael Wilmington
    The best thing about star and co-writer David Spade's Dickie Roberts, Former Child Star is the end-title sequence, a big, sassy sing-along in which dozens of old TV child stars spew out defiant jokes about their old careers and fame's fickle fingers.
    • 25 Metascore
    • 38 Michael Wilmington
    A comedy murder mystery gone seriously astray, boasts an immensely talented cast .
    • Chicago Tribune
    • 52 Metascore
    • 38 Michael Wilmington
    A gaudy yet grim science-fiction horror movie of such surpassing silliness, humorless intensity and stylistic overkill that watching it may actually put you in a state of paranoia.
    • 14 Metascore
    • 38 Michael Wilmington
    Some movies should never have been made, and high on that list is the addled new remake of Rollerball.
    • 63 Metascore
    • 38 Michael Wilmington
    Though I would agree it's original -- it's the first aboveground romance movie I've seen in which the heroine is repeatedly spanked, verbally tormented and tied to a chair by her lover--- it's not an experience I much enjoyed.