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 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 The Man Without a Past
Lowest review score: 0 Chaos
Score distribution:
1,221 movie reviews
    • 82 Metascore
    • 88 Michael Wilmington
    This film--one of the best and most memorable documentaries of the year so far--brings that truth-teller to us once again.
    • 72 Metascore
    • 88 Michael Wilmington
    Has the resonance, eloquence and formal rigor of a piece of great literature.
    • 76 Metascore
    • 88 Michael Wilmington
    A love-hate poem to L.A., and when Mann takes in the streets, the freeways and LAX, he doesn't give us shiny "Lethal Weapon"-style travelogues. He shows us an L.A. that's grim, bare, a bit smoggy and ruled by street smarts. [15 Dec 1995]
    • 84 Metascore
    • 88 Michael Wilmington
    This is a first-class muckraking melodrama: an admirable picture.
    • 71 Metascore
    • 88 Michael Wilmington
    One of the best realistic dramas of the year.
    • 43 Metascore
    • 88 Michael Wilmington
    Has some of the wit, sass and sexual candor of an "Annie Hall." But it covers the same kind of territory with more bite and bile.
    • 71 Metascore
    • 88 Michael Wilmington
    A family tale, in the best sense. [19 February 1999, Tempo, p.4]
    • 72 Metascore
    • 88 Michael Wilmington
    It's a simple story with complex reverberations and undercurrents, as secrets keep being revealed.
    • 71 Metascore
    • 88 Michael Wilmington
    It's a summit meeting between three brilliant leading men from three generations with three striking on-screen personas.
    • 72 Metascore
    • 88 Michael Wilmington
    Though the role might seem a real stretch for an actor who just won an Oscar for his Charlton Heston turn as Maximus in "Gladiator," he and the movie ace the test.
    • 49 Metascore
    • 88 Michael Wilmington
    This is a meaty, well-crafted thriller that absorbs and disturbs you from first frame to last.
    • 84 Metascore
    • 88 Michael Wilmington
    Scene after scene in Calle 54 just knocks you out.
    • 69 Metascore
    • 88 Michael Wilmington
    Most movingly, Monsieur Ibrahim takes a provocative subject -- friendship and love between a Jew and a Muslim -- and makes it seem natural and wondrous.
    • 52 Metascore
    • 88 Michael Wilmington
    Seemingly a simple comedy, it actually -- like all Allen's "simple" comedies -- has a lot to say. Will the audience listen or just dismiss it as minor, out-of-date Woody? If they do, it's their loss.
    • 65 Metascore
    • 88 Michael Wilmington
    While Last Kiss may strike some as a calculated crowd-pleaser, it's cleverly calculated, perceptive and often quite funny -- and a bit darker than it may first appear.
    • 80 Metascore
    • 88 Michael Wilmington
    Two suggestions as you watch it: Never take anything for granted, and keep your hand on your wallet as you leave the theater.
    • 57 Metascore
    • 88 Michael Wilmington
    The Human Stain has those qualities we often want but rarely see in our films: intelligence and ambition, decency and humanity, poetry and pity, fire and ice. Watch it and weep.
    • 82 Metascore
    • 88 Michael Wilmington
    A weird, funny, melancholy tribute to movies and movie-going, an opus for film geeks that rang my personal bell. A bizarre minimalist epic that will either transport or infuriate, it's defiantly, exquisitely eccentric.
    • 68 Metascore
    • 88 Michael Wilmington
    There's a zest and brilliance in Neil Jordan's racy heist thriller The Good Thief that makes it almost intoxicating to watch.
    • 73 Metascore
    • 88 Michael Wilmington
    A movie with surprises, some of which you should discover for yourself. But its main surprises may be the power of Collette's performance and the beautifully controlled mood and atmosphere Brooks creates.
    • 79 Metascore
    • 88 Michael Wilmington
    It may be the most serene and optimistic film Rivette has made in France. Yet even the art-house audience may undervalue it, miss the beauty, style and wit.
    • 80 Metascore
    • 88 Michael Wilmington
    This is a movie with every facet shining in place, every word charged and resonant. [23 Sept 1994]
    • 69 Metascore
    • 88 Michael Wilmington
    Visually, even compared to Sayles' own best work, it's somewhat prosaic - and dramatically, it suffers from the fact that its two main characters are kept so far apart. But the screenwriting and the cast redeem this film.
    • 85 Metascore
    • 88 Michael Wilmington
    Honest, poignant and very funny, full of memorable, moving moments.
    • 73 Metascore
    • 88 Michael Wilmington
    Intoxicatingly well-crafted entertainment about hunting down your enemy.
    • 74 Metascore
    • 88 Michael Wilmington
    It's one of the most ferociously convincing physical re-creations of warfare ever put on screen.
    • 82 Metascore
    • 88 Michael Wilmington
    A finely written, superbly acted offbeat thriller.
    • 71 Metascore
    • 88 Michael Wilmington
    Elegant, cheerfully cynical fun of the kind we used to get regularly from Billy Wilder, Howard Hawks and other masters of the classic Hollywood screwball comedy -- all those '30s-'40s movies about rich people sloshed, or acting crazy and running romantically amok.
    • 68 Metascore
    • 88 Michael Wilmington
    With his usual consummate visual skills and his flair for the nauseatingly audacious, David Cronenberg’s written (spottily) and directed (stunningly) a movie that often makes you feel as if you'd lost contact with reality: a twisted, nightmarish tale of futuristic reality games and a couple on the run. [23 April 1999, Friday, p.D]
    • 72 Metascore
    • 88 Michael Wilmington
    The acting in All or Nothing is superb. Everyone creates a character we can immediately register and recognize as true.