For 1,221 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 14.1 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
Average review score: 73
Highest review score: 100 In Praise of Love
Lowest review score: 0 Chaos
Score distribution:
1,221 movie reviews
    • 59 Metascore
    • 63 Michael Wilmington
    For my taste, too much of the new Powers looks like bad TV and sounds like old burlesque.
    • 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.
    • 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]
    • 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
    This is a movie that really has little to offer but performances and ideas. For a while, that's enough.
    • 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.
    • 51 Metascore
    • 63 Michael Wilmington
    The movie -- even though it's based on real events -- seems unsatisfying and unconvincing.
    • 59 Metascore
    • 63 Michael Wilmington
    This time around, the razors are a little duller, the clicks not as slick, the patter not as snappy.
    • 64 Metascore
    • 63 Michael Wilmington
    A promising film rather than a fully realized one.
    • 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.
    • 42 Metascore
    • 63 Michael Wilmington
    Another of many recent Hollywood plotless wonders.
    • 42 Metascore
    • 63 Michael Wilmington
    Has a remote feel. It sometimes impresses but never soars.
    • 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.
    • 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.
    • 50 Metascore
    • 63 Michael Wilmington
    Almost as uncompromising, and sometimes as funny, as "Dollhouse" or "Happiness."
    • 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."
    • 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.
    • 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.
    • 71 Metascore
    • 63 Michael Wilmington
    If you're in the mood for something strange, this film may please you, twice over.
    • 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.
    • 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.
    • 65 Metascore
    • 63 Michael Wilmington
    A classy but over-contrived topical thriller about bomb plots and anti-government groups.
    • 54 Metascore
    • 63 Michael Wilmington
    A sometimes stirring, sometimes preposterous movie.
    • 76 Metascore
    • 63 Michael Wilmington
    One funny movie - for at least half the time.
    • 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.
    • 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.
    • 28 Metascore
    • 63 Michael Wilmington
    There's something light and insubstantial about this movie. It almost floats away as you watch it.
    • 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.
    • 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.
    • 49 Metascore
    • 63 Michael Wilmington
    A singularly cheerless trip, explicit but sterile, racy but dull.
    • 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.
    • 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.
    • 60 Metascore
    • 63 Michael Wilmington
    Doesn't have the negative qualities of many big-studio romantic comedies, but it doesn't quite take flight.
    • 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.
    • 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.
    • 78 Metascore
    • 63 Michael Wilmington
    For sheer laughs, Willard and Piddock take the trophy.
    • 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.
    • 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.
    • 56 Metascore
    • 63 Michael Wilmington
    It suddenly morphs into one more overly slick, empty show.
    • 52 Metascore
    • 63 Michael Wilmington
    It's a real disappointment: too hasty, too scattered and superficial, and, in the end, disappointingly sappy and sentimental.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 63 Michael Wilmington
    As a whole, though, the movie is much less magnetic or believable than its star.
    • 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. .
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 70 Metascore
    • 63 Michael Wilmington
    Girlfight, for its skill and theme, will please many. It's a shame it's no knockout.
    • 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.
    • 43 Metascore
    • 63 Michael Wilmington
    Jersey Girl is an oddity, hard to dislike but impossible to buy.
    • 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.
    • 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]
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 63 Michael Wilmington
    It's not that the movie is bad; it's merely uninspired and relatively clueless about Kaufman.
    • 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.
    • 47 Metascore
    • 63 Michael Wilmington
    More spirit and grace and less blood and guts may be what Passion needs.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 63 Michael Wilmington
    Likable as it is, suffers from that modern big-movie vice: overkill.
    • 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.
    • 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]
    • 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]
    • 28 Metascore
    • 63 Michael Wilmington
    The movie contains its moments, charms and felicities-even its sharp stings of pleasure and pain. [20 May 1994]
    • 67 Metascore
    • 63 Michael Wilmington
    There's something in Shallow Grave that is admirable, beyond its obvious display of youthful talent. [24 Feb 1995]
    • 67 Metascore
    • 63 Michael Wilmington
    While the movie is never dull, its romantic fodder doesn't do justice to any period at all.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 63 Michael Wilmington
    The movie, like Smith, is breezy, fun and keeps comin' at ya. [22 Dec 2006, p.5]
    • 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.
    • 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]
    • 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.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 50 Michael Wilmington
    Like too many movies these days, takes a clever little idea and all but pounds it into the ground.
    • 49 Metascore
    • 50 Michael Wilmington
    A limply derivative, disappointingly trivial and hokey fish-out-of-water crime comedy.
    • 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.
    • 53 Metascore
    • 50 Michael Wilmington
    Hobbled with pedestrian direction, a dull visual style and a last act awash in obvious bang-bang melodrama.
    • 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 cute, well-acted film that tries to mix tones sharply.
    • 39 Metascore
    • 50 Michael Wilmington
    The trajectory of the film -- despite its excellent cast and intelligent mounting -- is too preordained.
    • 32 Metascore
    • 50 Michael Wilmington
    A pretty good film, acted powerfully .
    • 42 Metascore
    • 50 Michael Wilmington
    Has heart, but lacks bite.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Michael Wilmington
    It’s a big, frothy, high-tech, cutesy-poo musical comedy.
    • 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.
    • 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.
    • 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."
    • 63 Metascore
    • 50 Michael Wilmington
    Fessenden cooks up a likably offbeat horror movie. But somehow, it never jells, never really scares us.
    • 61 Metascore
    • 50 Michael Wilmington
    This one's worth the ticket price only if you are a showbiz-aholic.
    • 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.
    • 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.
    • 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.
    • 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]
    • 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.
    • 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]
    • 56 Metascore
    • 50 Michael Wilmington
    Tries for both civilized wit and primitive joy -- and mostly misses both.
    • 49 Metascore
    • 50 Michael Wilmington
    There's barely a scene in this movie that taps his (Murphy) special brilliance.
    • 32 Metascore
    • 50 Michael Wilmington
    Soft and predictable -- which might be OK if there were more laughs and insight.
    • 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.
    • 70 Metascore
    • 50 Michael Wilmington
    A bright and zippy, but alarmingly over-campy and lighter-than-fluff cartoon feature.
    • 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.
    • 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
    A wild, wanton and wasteful western farce that's so overblown and underwritten it almost makes you cringe to watch it.
    • 48 Metascore
    • 50 Michael Wilmington
    Elaborate misfire, which misuses an unusually good cast.
    • 49 Metascore
    • 50 Michael Wilmington
    A business-as-usual blockbuster blueprint that rarely surprises you.
    • 33 Metascore
    • 50 Michael Wilmington
    An overblown, overspectacular, oversold movie without an original idea in its head.
    • 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.
    • 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.
    • 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]
    • 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.
    • 43 Metascore
    • 50 Michael Wilmington
    Much of this movie seems a crock.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Michael Wilmington
    At least Reno is around -- and he's the only spice in this stale, slick stew
    • 41 Metascore
    • 50 Michael Wilmington
    Likable but relentlessly trivial.
    • 27 Metascore
    • 50 Michael Wilmington
    Sometimes funny, often strained comedy.
    • 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.
    • 52 Metascore
    • 50 Michael Wilmington
    May be the only movie in recent memory unworthy of its own genuinely hilarious Web site, www.finemanfilms.com.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Michael Wilmington
    A feast of bad taste, a demonic hog-wallow.
    • 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.
    • 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.
    • 33 Metascore
    • 50 Michael Wilmington
    It's a Hitchockian "wrong man" story, but there's a twist.
    • 47 Metascore
    • 50 Michael Wilmington
    Wacky and heartless, bloody and silly -- and it ends in a flourish of grotesque sentimentality.
    • 39 Metascore
    • 50 Michael Wilmington
    Strikes me as a pure, unadulterated crock. [12 February 1999, Friday, p.A]
    • 63 Metascore
    • 50 Michael Wilmington
    Spectacular, fast, never boring. But it's also one of the more disappointing movies I've seen recently.
    • 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]
    • 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.
    • 32 Metascore
    • 50 Michael Wilmington
    So fast, sleek and riveting it almost makes you expect miracles -- which never materialize.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Michael Wilmington
    An expensive-looking new detective thriller that should have been much better.
    • 52 Metascore
    • 50 Michael Wilmington
    An irritation, more fizzle than sizzle.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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]
    • 26 Metascore
    • 50 Michael Wilmington
    A neo-noir movie nightmare gone sadly wrong.
    • 34 Metascore
    • 50 Michael Wilmington
    Has the air of a film and actor (Beatty)reaching clumsily for a golden past that's gone.
    • 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.
    • 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.
    • 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.
    • 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.
    • 12 Metascore
    • 50 Michael Wilmington
    A smorgasbord of bad ideas, sumptuously over-realized.
    • 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.
    • 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]
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 50 Michael Wilmington
    A light, breezy, often charming little film, with a good cast playing mostly shallow characters.
    • 70 Metascore
    • 50 Michael Wilmington
    Freaky Friday commits a lot of sins; luckily, it has Curtis and a few others to cover them up.
    • 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.
    • 43 Metascore
    • 50 Michael Wilmington
    Tries to take us from heaven to hell but winds up leaving us in limbo: exasperated and dumfounded.
    • 9 Metascore
    • 50 Michael Wilmington
    Scientology or not, the movie is a battlefield bummer that makes you want to revolt.
    • 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.
    • 49 Metascore
    • 50 Michael Wilmington
    A pumped-up, flag-waving, outrageously hokey and ridiculous -- but sometimes incredibly exciting -- war movie.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Michael Wilmington
    A comedy that seems to have most everything going for it but the ability to make us laugh.
    • 64 Metascore
    • 50 Michael Wilmington
    It's fairly entertaining--but not the second coming of indie comedy some notices might lead you to expect.
    • 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]
    • 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]
    • 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]
    • 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.
    • 29 Metascore
    • 38 Michael Wilmington
    It's a murky, empty-headed dive into the depths of the Antarctic and the heart of monster movie cliches that leaves you praying for most of the cast to get killed off fast, to put them (and us) out of our misery.
    • 30 Metascore
    • 38 Michael Wilmington
    In White Noise, Hollywood and Michael Keaton try to make a decent thriller out of ghosts in the machine but come up with lousy reception and static.
    • 32 Metascore
    • 38 Michael Wilmington
    Wedding Date is neither good art, good entertainment nor even good trash.
    • 36 Metascore
    • 38 Michael Wilmington
    The film may be bad-and mad-but it's not predictable.
    • 30 Metascore
    • 38 Michael Wilmington
    Cheerful but mind-numbing.
    • 37 Metascore
    • 38 Michael Wilmington
    What isn't scary--or exciting, amusing or fun--is XXX: State of the Union, a movie so preposterous, cliché-packed and over the top that it makes the original "XXX" seem as good as the original "State of the Union."
    • 31 Metascore
    • 38 Michael Wilmington
    The movie suffers from a devastating flaw for a comedy: It isn't very funny.
    • 51 Metascore
    • 38 Michael Wilmington
    A contemporary teen summer romance with a modern sexual twist--though in many ways, it's just the same old malarkey.
    • 41 Metascore
    • 38 Michael Wilmington
    Final Destination 3 is a gorefest that should either slake your worst appetites or drive you to the exits.
    • 35 Metascore
    • 38 Michael Wilmington
    A flashy-looking low-budget indie about drugs, love and crime in small-town Iowa. But, speaking as an ex-small-town Midwesterner, I found it hard to buy.
    • 26 Metascore
    • 38 Michael Wilmington
    I'd be lying if I said I didn't laugh at some of this--though it's not as funny as Laurel and Hardy as toddlers in "Brats." But I wanted to slap myself whenever I did.
    • 33 Metascore
    • 38 Michael Wilmington
    A bad, bad movie...It's loud and dumb and it wastes a good cast on a ludicrous script.
    • 22 Metascore
    • 38 Michael Wilmington
    Sluggish and preposterous, full of violence and cliches.
    • 45 Metascore
    • 38 Michael Wilmington
    An odd little ghoul too cleaned up to survive, a bloodless vampire movie that's mostly lifeless as well.
    • 34 Metascore
    • 38 Michael Wilmington
    A flabbergasting waste of time and talent.
    • 24 Metascore
    • 38 Michael Wilmington
    A fast, slick, outlandish fiasco that starts out well and then seems to drop right off a cliff.
    • 27 Metascore
    • 38 Michael Wilmington
    Accomplishes something I would have thought impossible. It made me appreciate its 1994 predecessor, "The Flintstones."
    • 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.
    • 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.
    • 23 Metascore
    • 38 Michael Wilmington
    What we get, while rarely boring, is a succession of senseless scenes bathed in formula-thriller blue light, full of blazing Uzis, exploding helicopters and sentimental male bonding.
    • 14 Metascore
    • 38 Michael Wilmington
    Some movies should never have been made, and high on that list is the addled new remake of Rollerball.
    • 29 Metascore
    • 38 Michael Wilmington
    There's almost no reason to see the movie, unless you have no qualms about wasting your time.
    • 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?
    • 25 Metascore
    • 38 Michael Wilmington
    An almost terminally sappy youth romance.
    • 45 Metascore
    • 38 Michael Wilmington
    Just withers compared with many older, better movies about teen alienation and nihilism, from "Rebel Without a Cause" to "River's Edge."
    • 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.
    • 45 Metascore
    • 38 Michael Wilmington
    Technically clever but emotionally bankrupt...it's an almost laughably opportunistic movie.
    • 41 Metascore
    • 38 Michael Wilmington
    It may entertain you if you don't mind senseless stories and screaming soundtracks.
    • 21 Metascore
    • 38 Michael Wilmington
    A mind-numbing, bloody, ridiculous experience.
    • 44 Metascore
    • 38 Michael Wilmington
    An oppressively cute Manhattan time-travel romantic comedy that’s lost in time, space and cliches.
    • 45 Metascore
    • 38 Michael Wilmington
    I can't think of much that might happen on a date evening that could be more annoying than this movie.
    • 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.
    • 29 Metascore
    • 38 Michael Wilmington
    It's outrageously stereotypical and weirdly personal, so loonily exaggerated it keeps surprising you.
    • 64 Metascore
    • 38 Michael Wilmington
    Superhero comic book movie with a script so feeble it might have been written with crayons.
    • 30 Metascore
    • 38 Michael Wilmington
    Outrageously vapid and overdone movie.
    • 30 Metascore
    • 38 Michael Wilmington
    A good-natured but trivial Manhattan romantic comedy.
    • 36 Metascore
    • 38 Michael Wilmington
    It's a real shame that most new boxing movies try to copy the crowd-pleasing, sentiment-choked tactics of "Rocky" rather than the stark drama of "Raging Bull" or the realistic grit of "On the Waterfront" and "The Harder They Fall." Against the Ropes is only the latest sorry example. The sad thing is that, with this real-life story and subject, it could have been a contender.
    • 25 Metascore
    • 38 Michael Wilmington
    A comedy murder mystery gone seriously astray, boasts an immensely talented cast .
    • 31 Metascore
    • 38 Michael Wilmington
    It's a glossy, well-mounted, slickly done but almost stuporously predictable affair, both formula-bound and utterly illogical.
    • 43 Metascore
    • 38 Michael Wilmington
    Fairly well done but deadly dull futuristic thriller.
    • 43 Metascore
    • 38 Michael Wilmington
    The crass sentimentality of American Wedding increasingly fits Norman Mailer's definition: "the emotional promiscuity of the basically unemotional." The jokes are unemotional, uncouth and mostly unfunny.
    • 26 Metascore
    • 38 Michael Wilmington
    An unabashedly bad movie full of cliches, claptrap, fairly good rock 'n' roll and stomach-turning gross-out gags.
    • 46 Metascore
    • 38 Michael Wilmington
    The idea may sound like fun, but the movie isn't. It's a travesty of a picture that's a disgrace to the memory of the great film from which it's remade. [5 February 1999, Friday, po.A]
    • 41 Metascore
    • 38 Michael Wilmington
    Some film premises are so outlandish, so thinly worked out and so deep-down ridiculous that they wind up sinking the show -- and White Chicks collapses under a real doozy.
    • 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.
    • 45 Metascore
    • 38 Michael Wilmington
    Falls flat on its face.
    • 36 Metascore
    • 38 Michael Wilmington
    Sometimes, you can use a smaller devil to catch the Devil, the movie suggests. But in this case, the entire movie goes to hell in record time.
    • 47 Metascore
    • 38 Michael Wilmington
    It's one of those movies where talented filmmakers waste time with stale, phony material.
    • 23 Metascore
    • 38 Michael Wilmington
    It's a movie that puts Samuel Jackson in kilts, Robert Carlyle in a red Jaguar, and the audience -- if they have any sense at all -- out in the lobby, looking for another picture.
    • 24 Metascore
    • 38 Michael Wilmington
    Turturro is the one thing that's right with the movie. Perhaps the weakest thing about the new "Deeds" is its utter lack of a strong viewpoint and real emotion.
    • 58 Metascore
    • 38 Michael Wilmington
    Despite a big budget, lots of technical flair and a good cast headed by Sarah Polley and Ving Rhames, it's mostly a bloody mess.
    • 45 Metascore
    • 38 Michael Wilmington
    Often ridiculous, mostly poorly written and, surprisingly poorly acted too. No matter how many flashy scenes the filmmakers shoot, the bad lines just keep dripping down. [21 Aug 1998]
    • 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.
    • 47 Metascore
    • 38 Michael Wilmington
    This clunky remake can't rise from the ashes, nor would you want it to.
    • 46 Metascore
    • 38 Michael Wilmington
    Sweet-tempered but superficial.
    • 18 Metascore
    • 38 Michael Wilmington
    One hopes that this is Hollywood's last go-round with Swept Away. Watching this fiasco, I kept having nightmares about a possible cartoon version, co-starring Cruella de Vil and Shrek.
    • 51 Metascore
    • 38 Michael Wilmington
    The Favor is a sex comedy without sex-and pretty much without comedy. [29 Apr 1994]
    • 71 Metascore
    • 38 Michael Wilmington
    Just another self-absorbed teen chronicle, with the added twist of a little time travel and a surprise ending.
    • 34 Metascore
    • 25 Michael Wilmington
    Devotees of awful filmmaking can't go wrong with this one.
    • 9 Metascore
    • 25 Michael Wilmington
    That this bit of pustulence is based on a video game of the same name is no surprise. It explains the thin plot, characters and abundant gunplay.
    • 36 Metascore
    • 25 Michael Wilmington
    Bewilderingly bad.