Michael Wilmington

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For 1,368 reviews, this critic has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 10 points higher than other critics. (0-100 point scale)

Michael Wilmington's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Hoop Dreams
Lowest review score: 0 Chaos
Score distribution:
1368 movie reviews
    • 71 Metascore
    • 75 Michael Wilmington
    A work both rigorously stylized and deeply personal. Devotees of Kitano and Japanese cinema will admire Dolls.
    • 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.
    • 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.
    • 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
    • 59 Metascore
    • 88 Michael Wilmington
    Miller's quiet artistry is at its peak, and though "Lili" is not as subtle, profound or moving a work as Chekhov's play, it's an intelligent, first-rate piece of cinema.
    • 84 Metascore
    • 88 Michael Wilmington
    Scene after scene in Calle 54 just knocks you out.
    • Chicago Tribune
    • 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.
    • 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.
    • 34 Metascore
    • 25 Michael Wilmington
    Devotees of awful filmmaking can't go wrong with this one.
    • 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.
    • 55 Metascore
    • 75 Michael Wilmington
    A movie that will act like a smack in the face to some audiences, while others may simply laugh in recognition.
    • 73 Metascore
    • 88 Michael Wilmington
    A funny valentine by an old master, woos us into the dance.
    • 59 Metascore
    • 75 Michael Wilmington
    It's a high-tech thriller that really works.
    • 70 Metascore
    • 88 Michael Wilmington
    A horror-comedy about cute little Christmas toy/pets who turn into murderous monsters wreaking havoc on a Norman Rockwellian town. There's a moral there someplace.
    • 70 Metascore
    • 88 Michael Wilmington
    Though it's not the great film "Grand Illusion" is, and though it may strike some as a little schmaltzy, it still has some of that earlier film's deep feeling and empathy for soldiers trapped in the jaws of war and for the joys of Christmas--for believers and non-believers alike.
    • 61 Metascore
    • 75 Michael Wilmington
    There's so much emotion and so many ideas in this film that it's both angering and exhilarating. The acting is fine, the writing superb, the production crisp.
    • 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
    • 62 Metascore
    • 100 Michael Wilmington
    Like most Godard, it can be watched repeatedly, always yielding new secrets and beauties. Most profound of all, perhaps, are those incredible black-and-white images of Paris.
    • 75 Metascore
    • 75 Michael Wilmington
    The movie's gentle humor and offbeat whimsy prove that humanity trumps bureaucratic foolishness, in Norway or anywhere else.
    • 67 Metascore
    • 80 Michael Wilmington
    It has an irresistibly sure touch, an easy command of its audience. It hits the right buttons, strikes the right chords, plays with our expectations with the right blend of savvy, guile and imagination. [26 Nov. 1986]
    • Los Angeles Times
    • 87 Metascore
    • 100 Michael Wilmington
    Moviegoers should be almost as entranced by the teeming, glorious landscapes and dark, bloody battlegrounds of Two Towers: astonishing midpoint of an epic movie fantasy journey for the ages.
    • 67 Metascore
    • 75 Michael Wilmington
    Dercourt, a very fine filmmaker, is a musician himself, a music teacher and one-time solo viola player with the French Symphony Orchestra. And he directs, with a musician's precision and an insider's sly wit, the world of classical music performance.
    • 77 Metascore
    • 75 Michael Wilmington
    A film driven by an elusive plot buried like a cryptogram under the action. It's a delightfully screwy ethnographic murder mystery, beautifully photographed in translucent naturalistic color.
    • 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.
    • 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.)
    • 71 Metascore
    • 88 Michael Wilmington
    These girls can cook, and Yamashita captures them with an austere, unhurried visual style that has been rightly compared to rock aficionado/filmmakers Aki Kaurismaki ("Ariel") and Jim Jarmusch ("Mystery Train"). [8 Dec 2006, p.2]
    • Chicago Tribune
    • 72 Metascore
    • 88 Michael Wilmington
    Thanks to Echer, Nettelbeck and this delicious movie, I was able to hear "Country" and the other Jarrett tunes in scene after scene - heightening moods, lyricizing action and making Hamburg seem like a wintry love song. Predictable or not, that's often as good as it gets.
    • 68 Metascore
    • 88 Michael Wilmington
    One of those sweet, intelligent, nicely made films.
    • 77 Metascore
    • 88 Michael Wilmington
    A harsh, spellbinding tale.
    • 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.
    • 29 Metascore
    • 38 Michael Wilmington
    There's almost no reason to see the movie, unless you have no qualms about wasting your time.
    • 57 Metascore
    • 63 Michael Wilmington
    As is often the case in Loach's films, all the acting is exemplary. Padilla, who learned English only shortly before making the film, is a natural actress, a smoldering presence.
    • Chicago Tribune
    • 54 Metascore
    • 88 Michael Wilmington
    A movie likely to rally huge audiences who want to take another roller coaster ride. And though it may disappoint a few of them, it's also a film that gives you something to think and feel sad about. It smashes you -- gently.
    • 89 Metascore
    • 100 Michael Wilmington
    It's as thrilling and lushly beautiful a movie as has been released all year, matched only by Zhang's epic "Hero." And I think this film is the more powerful.
    • 56 Metascore
    • 75 Michael Wilmington
    There's just enough neurotic or sharp badinage and Rodeo Drive realism to make it all go down easy.
    • 74 Metascore
    • 88 Michael Wilmington
    An extraordinarily truthful and piercing drama.
    • 64 Metascore
    • 63 Michael Wilmington
    There's something too slickly contrived and hollow about this film. It's a yuppified wish-fulfillment piece dangling between real world and fairy tale, and it's mostly the actors --especially Lindsay and Elaine Hendrix (as the conniving publicist who is trying to marry Hallie and Annie's dad) -- who manage to bring it off. [29 July 1998]
    • Chicago Tribune
    • 57 Metascore
    • 75 Michael Wilmington
    The film, like its lovers, is fond, giddy and poetic about love and death.
    • 39 Metascore
    • 38 Michael Wilmington
    We're reminded of Police Academy because this is another story about outcasts and rejects banding together to beat the odds in a macho profession. And we're reminded of The Sting because that's how we feel after the movie is over. Stung.
    • 90 Metascore
    • 100 Michael Wilmington
    An improbable masterpiece -- a bizarre mixture of grandly operatic visuals, grim brutality and sordid violence that keeps wrenching you from one extreme to the other.
    • 76 Metascore
    • 100 Michael Wilmington
    A movie about the passions of simple people, and it's done with such extraordinary empathy and commitment that it all but pulls you under. [29 November 1996, Friday, p.A]
    • Chicago Tribune
    • 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.
    • 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.
    • 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
    • 62 Metascore
    • 63 Michael Wilmington
    Don't expect a lot, and you'll probably enjoy Happy, Texas, as I did -- mostly. At the very least, Steve Zahn will make you laugh.
    • 75 Metascore
    • 75 Michael Wilmington
    The ending of Waitress is so beguiling and whimsical that it makes you, like its diner's patrons, hungry for more--and it makes you miss that red-headed movie auteur/pastry chef/heart stealer Shelly even more.
    • 75 Metascore
    • 75 Michael Wilmington
    It's intellectual without being dry, dramatic without bombast, smart without posturing. Its characters and milieu are very well drawn, and Andre is one of the more intriguing and convincing fictional creations in recent film.
    • 75 Metascore
    • 88 Michael Wilmington
    One of the year's most thought-provoking, hard-hitting films, gutsily opening up a subject rarely done with this kind of all-out chutzpah.
    • 100 Metascore
    • 100 Michael Wilmington
    1966 French masterpiece -- the finest, most deeply personal work of a filmmaker who has been compared, justifiably, to both Dostoyevsky and Bach.
    • 36 Metascore
    • 38 Michael Wilmington
    The film may be bad-and mad-but it's not predictable.
    • 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.
    • 79 Metascore
    • 75 Michael Wilmington
    The first 10 minutes of Lodge Kerrigan's Keane have a raw, hurtling reality that's as painfully engrossing as anything you'll see in a recent non-fiction movie, a searing portrait of one man's hell, from inside and outside.
    • 66 Metascore
    • 80 Michael Wilmington
    In Roman Polanski's Frantic--an elegant, icy thriller about an American doctor chasing his wife's kidnapers through the deadlier byways of Paris--we can tell after 10 minutes that we're in the hands of a superb craftsman.
    • 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.
    • 98 Metascore
    • 100 Michael Wilmington
    A brilliant work of the imagination capable of truly seizing and igniting our fantasies.
    • 53 Metascore
    • 80 Michael Wilmington
    Johnny Suede has an astonishingly consistent tone and a remarkably talented and cohesive cast. [21 Aug 1992]
    • Los Angeles Times
    • 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.
    • 54 Metascore
    • 63 Michael Wilmington
    An erratic but enjoyable sci-fi action movie with an extremely bent sense of humor. [09 Aug 1996, p.F]
    • Chicago Tribune
    • 68 Metascore
    • 88 Michael Wilmington
    It's a lovely, terrifying sight.
    • 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.
    • 64 Metascore
    • 63 Michael Wilmington
    A second-rate nightmare: the Reagan generation meets Leatherhead with flickers of brilliance drowned in blood and snobbery, a corpse dressed by Bloomingdale's.
    • Chicago Tribune
    • 51 Metascore
    • 38 Michael Wilmington
    The Favor is a sex comedy without sex-and pretty much without comedy. [29 Apr 1994]
    • Chicago Tribune
    • 76 Metascore
    • 75 Michael Wilmington
    Though Haynes' methods are austere and his style dry, the terror of his narrative becomes more palpable as the film unwinds. The picture's eerie delicacy, meticulous technique and rapt formality may distance us, but they also steadily strip bare the panic at its core.
    • 58 Metascore
    • 75 Michael Wilmington
    The artifice may be ancient, but the thought and emotions -- and especially Sorvino -- are beautifully, refreshingly modern.
    • 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.
    • 51 Metascore
    • 88 Michael Wilmington
    It's the best new battle film since "Black Hawk Down," a movie it surpasses in sheer feeling and bravura style, if not in nightmarish panic and suspense.
    • 78 Metascore
    • 75 Michael Wilmington
    Never feels inflated -- and it builds to an ending of unusual power.
    • 57 Metascore
    • 63 Michael Wilmington
    Dark as it is, the humor makes it work, especially Greene's typically witty and compassionate portrayal of Mogie.
    • 72 Metascore
    • 100 Michael Wilmington
    A rare example of a literary film that preserves the best of its source while creatively filling up on it.
    • Chicago Tribune
    • 62 Metascore
    • 75 Michael Wilmington
    A fairy tale comedy with the Holocaust as the background, a collision of terror and community, death and beauty.
    • 56 Metascore
    • 63 Michael Wilmington
    Harsh Times, is almost a good, salty urban thriller.
    • 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.
    • 66 Metascore
    • 75 Michael Wilmington
    Doesn't always sizzle, but its stars do.
    • 100 Metascore
    • 100 Michael Wilmington
    Nobody ever gathered together a sharper, more pungent international "Golden Age" cast (including Claude Rains, Sydney Greenstreet, Peter Lorre, Paul Henreid, Conrad Veidt, S.Z. Sakall, Marcel Dalio, Leonid Kinskey, John Qualen and Curt Bois) in a more imperishable exotic movieland cabaret (Rick's) than Warner Bros. producer Hal Wallis and director Michael Curtiz did in this greatest of all Hollywood World War II adventure romances.
    • 75 Metascore
    • 88 Michael Wilmington
    It's a great film that, sadly, may be ignored by all but the most dedicated, knowledgable filmgoers.
    • 84 Metascore
    • 88 Michael Wilmington
    Thompson clearly loves this story, and, even though, she's playing the less spontaneous of the older Dashwood sisters, responsible Elinor, you can feel her spirit rising out to embrace the part. It makes her beautiful to watch. [13 December 1995]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 82 Metascore
    • 100 Michael Wilmington
    This French documentary gives us unprecedented intimacy and sweep.
    • 45 Metascore
    • 60 Michael Wilmington
    For the right audience, it'll be fun. It's for action movie fans with a taste for something off the beaten track -- but not too far. And for people who like to rail and spew against the vulgarity and stupidity of TV -- but keep watching it all anyway.
    • 64 Metascore
    • 75 Michael Wilmington
    People who love Lennon will almost certainly like the film; his detractors will almost certainly howl "bias!" Even so, it's a movie that, at its best, makes you ache with the memory of an anguished era and its fallen pop culture hero.
    • 89 Metascore
    • 100 Michael Wilmington
    The Seventh Continent is a calm chronicle of hell, a clinical look at how commonplace people can erupt into despair or violence. Bleak, cool, beautifully controlled, liberatingly intelligent, it chills our hearts as it opens our minds. And it establishes Haneke as one of the more remarkable young contemporary filmmakers.
    • 78 Metascore
    • 63 Michael Wilmington
    For sheer laughs, Willard and Piddock take the trophy.
    • Chicago Tribune
    • 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.
    • 90 Metascore
    • 75 Michael Wilmington
    Weird to the max, smart, sneaky as a Wall Street pickpocket and revved up with cruel wit and brazen imagination, Being John Malkovich is a dark movie comedy that you couldn't forget if you tried.
    • Chicago Tribune
    • 55 Metascore
    • 75 Michael Wilmington
    Surviving Picasso is an intelligent, beautifully crafted and engrossing Ismail Merchant-James Ivory biographical portrait of the century's most famous and successful painter. [4 Oct 1996]
    • Chicago Tribune
    • 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
    • 46 Metascore
    • 30 Michael Wilmington
    With its stylized story-line and almost styleless direction, it sometimes resembles a juggling act with sledgehammers. [13 Jul 1988, p.1]
    • Los Angeles Times
    • 72 Metascore
    • 88 Michael Wilmington
    A lovely film with a deeply humane perspective.
    • 71 Metascore
    • 75 Michael Wilmington
    The movie, a keen look at the way passion unravels and obsession destroys, creates a black mood, a sense of truth and an enduring chill that stay with you.
    • 40 Metascore
    • 75 Michael Wilmington
    Though the film falls short of its aspirations, there's something magical about it. It's a poetic look at transience, betrayal, loss and doom.
    • Chicago Tribune
    • 67 Metascore
    • 100 Michael Wilmington
    Stylish, ingenious and gleaming with charm, wit and malice, it's another expert blend of domestic drama and crime thriller, a vivisection of the bourgeoisie.
    • 81 Metascore
    • 100 Michael Wilmington
    As magnificent as a high-masted 19th-century British warship, as explosive as a Napoleonic-era ocean battle seen above the cannon's mouth... probably the best movie of its kind ever made.
    • 79 Metascore
    • 75 Michael Wilmington
    Another of his (McElwee) beguiling "personal chronicle" movies.
    • 36 Metascore
    • 40 Michael Wilmington
    A misfiring comic fantasia on business success in the Reagan era. [10 Apr 1987, p.1]
    • Los Angeles Times
    • 73 Metascore
    • 75 Michael Wilmington
    Erotic, poetic and light on its feet. It's a portrayal of a runaway teenager's sexual initiation, and though it comes close to being exploitive, it keeps dancing away.
    • 49 Metascore
    • 63 Michael Wilmington
    The movie is dedicated, in a nice touch, to early Farrelly fan Gene Siskel. And Gene was right: The Farrellys are often very funny filmmakers. .
    • Chicago Tribune
    • 96 Metascore
    • 100 Michael Wilmington
    One of the most excitingly contemporary musicals ever made.
    • Chicago Tribune
    • 59 Metascore
    • 63 Michael Wilmington
    I liked the idea of the movie more than the movie itself -- though sections of it are mind-blowing.
    • Chicago Tribune
    • 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.
    • 84 Metascore
    • 88 Michael Wilmington
    The new Lassie is faithful to Knight's story, capturing its sweep, Dickensian social contrasts and high emotion. All that is enhanced by a splendid cast.
    • 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.
    • 75 Metascore
    • 75 Michael Wilmington
    With the exception of Amelie's voiceover narration in French, Fear and Trembling is entirely in Japanese. And the Japanese cast is superb.
    • 79 Metascore
    • 75 Michael Wilmington
    Finally, the film answers a question that obviously haunts Nachtwey: Is it immoral, callous or irresponsible to win fame and recognition from images of the terror, death and suffering of others?
    • 80 Metascore
    • 88 Michael Wilmington
    The tone and feel of Wild Reeds keeps shifting between irony and sentimentality, violence and tenderness, rebellion and acceptance. And those oscillations fit the volatile nature of its subject: young love and friendship. Together with his attractive and excellent cast, Techine recalls and invokes the mood swings of youth, the intensity and bursts of near-delirious passion.
    • 69 Metascore
    • 100 Michael Wilmington
    A wildly original movie with astonishingly varied moods and influences.
    • 43 Metascore
    • 63 Michael Wilmington
    An outrageously unlikely prison action movie made with lots of eye-catching pizzazz and undeserved expertise.
    • Chicago Tribune
    • 62 Metascore
    • 80 Michael Wilmington
    It's one hell of a ride and a real, roaring rock movie. [01 Mar 1991]
    • Los Angeles Times
    • 68 Metascore
    • 63 Michael Wilmington
    Bopha!, a movie about emotional and political turbulence tearing apart the family of a black South African police officer, is good, but a little disheartening. Not because of the injustice and misery it reveals-but because you want it to be better.
    • 55 Metascore
    • 75 Michael Wilmington
    May fall short of its great model, "Seven Samurai" (almost all action movies do), but it's miles ahead of most of the gadget-ridden adventure epics around now.
    • 64 Metascore
    • 50 Michael Wilmington
    It's fairly entertaining--but not the second coming of indie comedy some notices might lead you to expect.
    • 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
    • 63 Metascore
    • 75 Michael Wilmington
    Though "Caterina" is unusually well-acted and crafted for this kind of movie--and both more than casually insightful and irreverent about modern Italian school life, teenage mores and politics--Giancarlo is the one character who makes the movie special.
    • 74 Metascore
    • 75 Michael Wilmington
    This is a quiet thriller and a middle-aged romance, and it's full of desperation and oozing anxiety.
    • Chicago Tribune
    • 52 Metascore
    • 63 Michael Wilmington
    A stylish, nasty, very well-done Belgian horror movie.
    • 91 Metascore
    • 100 Michael Wilmington
    Leigh is an artist not at all blind to the world's darkness and pain. But the generosity and togetherness he and his company show in Secrets and Lies is something the movies -- and the world -- truly need. [25 October 1996, Friday, p.A]
    • Chicago Tribune
    • 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.
    • 43 Metascore
    • 63 Michael Wilmington
    Jersey Girl is an oddity, hard to dislike but impossible to buy.
    • 82 Metascore
    • 88 Michael Wilmington
    Twilight is a great samurai film in the way that "Unforgiven," "The Gunfighter" or "Will Penny"--all muted, somber films about aging gunfighters--are great westerns.
    • 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]
    • Chicago Tribune
    • 35 Metascore
    • 75 Michael Wilmington
    Mrs. Winterbourne doesn't amount to much. But it's such a professional job, done with such glow and verve -- and the people making it seem to be having such an infectiously good time -- that it's hard to resist. Good comedies are easy to love anyway. [19 Apr 1996, p.C]
    • Chicago Tribune
    • 68 Metascore
    • 88 Michael Wilmington
    Yet the film, no more than the novel, shouldn't be described as depressing. Both of them shine with heightened vision and poetics. [01 Nov 1996]
    • Chicago Tribune
    • 47 Metascore
    • 63 Michael Wilmington
    It's interesting - in its own let-it-all-hang-out, shaky-camera way.
    • Chicago Tribune
    • 66 Metascore
    • 75 Michael Wilmington
    A children's movie done with genuinely youthful spirit and an easy self-kidding mastery of its own high-tech gadgetry.
    • 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.
    • 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
    • 76 Metascore
    • 75 Michael Wilmington
    It's good, but not great -- despite the heights to which Dench and Broadbent drive it. But those heights are lofty, the pain still stings.
    • 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.
    • 46 Metascore
    • 50 Michael Wilmington
    Chris Farley is fine at physical gags, David Spade is snappy with wise cracks and Brian Dennehy is a good actor who has the best part in the movie-because he gets to die halfway through it. Tommy Boy, an attempt at populist comedy, has some laughs. But it doesn't really have any ideas, meaning or real feeling. This movie has a heart of plastic. It doesn't beat; it squeaks. [31 Mar 1995, p.C2]
    • Chicago Tribune
    • 84 Metascore
    • 75 Michael Wilmington
    Magnificently sensuous and macabre.
    • 56 Metascore
    • 75 Michael Wilmington
    It's only a mild disappointment. The talent is still there, the film better than most. It just needs less crime, more love.
    • 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.
    • 55 Metascore
    • 75 Michael Wilmington
    Sometimes thrilling, sometimes suffocatingly tasteful adaptation of Stephen King's 1999 novel.
    • Chicago Tribune
    • 33 Metascore
    • 25 Michael Wilmington
    A staggeringly bad picture: a shallow, cliche-ridden mess that keeps blowing up on screen.
    • 78 Metascore
    • 75 Michael Wilmington
    It's a work for specialized tastes: for audiences who adore old movies, dark jokes and some high camp.
    • 75 Metascore
    • 88 Michael Wilmington
    Salles' movie isn't fiery or didactic. It doesn't rage or storm. Salles romanticizes the youthful Ernesto.
    • 71 Metascore
    • 75 Michael Wilmington
    Why should we keep seeing Austen fresh, through our own, modern eyes? Because she's a writer who has never really left our field of vision. And, as this new Mansfield Park proves again, she never will.
    • 72 Metascore
    • 80 Michael Wilmington
    We don't make those kind of Lubitsch-Wilder-Capra movies anymore, because it's hard to kid about what goes on behind bedroom walls when the bedroom doors have long since been flung open. So Ephron invents strategies to keep us, teased, outside the boudoir. [25 Jun 1993 Pg.F1]
    • Los Angeles Times
    • 57 Metascore
    • 63 Michael Wilmington
    It's a movie that starts off nicely, offers two marvelous performances (by James Coburn and Mick Jagger) and then slowly, unaccountably loses itself.
    • 50 Metascore
    • 75 Michael Wilmington
    In French Kiss--a picture that isn't unusually funny or original but that has expert actors, smooth direction and ravishing French locales--we can get pleasure from the sheer, relaxed polish of it all, the effortless swing. It's a good time passer. [5 May 1995, p.C]
    • Chicago Tribune
    • 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.
    • 74 Metascore
    • 75 Michael Wilmington
    Capable of enthralling.
    • 56 Metascore
    • 50 Michael Wilmington
    Minimalism be damned; even a postmodern noir needs more than Minus Man gives us. So do the actors.
    • 69 Metascore
    • 100 Michael Wilmington
    This is the Paris -- and the mad, beautiful young Parisienne -- we look for in dreams.
    • 37 Metascore
    • 63 Michael Wilmington
    Disturbingly lightweight and emotionally risk-free.
    • 51 Metascore
    • 88 Michael Wilmington
    It has a jokey irreverence that keeps it from teetering over the edge to absurdity.
    • 26 Metascore
    • 75 Michael Wilmington
    It's crazy, dangerous and sometimes gorgeous: a feast of nuttiness that takes you, for a while, over the edge.
    • 83 Metascore
    • 100 Michael Wilmington
    This is a picture that may sound sappy but probably will enrapture audiences lucky enough to catch it. [19 May 1995, p.L]
    • Chicago Tribune
    • 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.
    • 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.
    • 27 Metascore
    • 38 Michael Wilmington
    Accomplishes something I would have thought impossible. It made me appreciate its 1994 predecessor, "The Flintstones."
    • Chicago Tribune
    • 100 Metascore
    • 100 Michael Wilmington
    It's perhaps only because it can't be seen in its full glory on television that "Lawrence" isn't ranked more highly on some recent all-time "best film" lists. But it belongs near the very top. It's an astonishing, unrepeatable epic.
    • 33 Metascore
    • 63 Michael Wilmington
    Jolie and Banderas are two hot actors, in many senses of the word, and their scenes together have a lewd excitement.
    • Chicago Tribune
    • 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.
    • 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.
    • 81 Metascore
    • 100 Michael Wilmington
    A film which should gratify any audience starved for intelligent dialogue, realistic portrayals of romance and lovely, non-cliched open-air photography.
    • 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.
    • 64 Metascore
    • 63 Michael Wilmington
    A promising film rather than a fully realized one.
    • 53 Metascore
    • 80 Michael Wilmington
    King and Romero are a natural match, and though this isn't the best of the King-derived horror movies--The Shining and The Dead Zone probably are--it's close.
    • 27 Metascore
    • 20 Michael Wilmington
    They've jacked this loud, lame shrieker of a movie up to the highest decibels, both aural and visual, and rammed it in our faces with almost numbing aplomb.
    • 73 Metascore
    • 88 Michael Wilmington
    An adventure movie of extraordinary simplicity and power.
    • Chicago Tribune
    • 60 Metascore
    • 75 Michael Wilmington
    Best of all though, we get to experience the whole fest itself, over four turbulent decades-an era from which Glastonbury, like Woodstock in its day, offers a halcyon "timeout."
    • 41 Metascore
    • 50 Michael Wilmington
    Likable but relentlessly trivial.
    • 55 Metascore
    • 75 Michael Wilmington
    Ozpetek brings a straight love story and world politics into the mix, but it's his brilliant cast which completes the connection.
    • 79 Metascore
    • 75 Michael Wilmington
    As a ride, this Tarzan succeeds. As a pop myth, it needs more jungle fever. [18 June 1999, Friday, p.A]
    • Chicago Tribune
    • 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.
    • 47 Metascore
    • 63 Michael Wilmington
    More spirit and grace and less blood and guts may be what Passion needs.
    • 32 Metascore
    • 50 Michael Wilmington
    A pretty good film, acted powerfully .
    • 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.
    • 55 Metascore
    • 75 Michael Wilmington
    It's "knowingly" off-the-rails--and if you're in a tolerant or adventurous mood, very entertaining.
    • 55 Metascore
    • 50 Michael Wilmington
    This romantic-comedy action movie is a fizzle.
    • 75 Metascore
    • 75 Michael Wilmington
    A delightful concert documentary that proves once more what a neglected masterpiece the Coen Brothers gave us last year in their Depression chain-gang odyssey, "O Brother, Where Art Thou?"
    • Chicago Tribune
    • 68 Metascore
    • 100 Michael Wilmington
    A spellbinder: provocatively conceived, gorgeously shot and masterfully executed.
    • 45 Metascore
    • 75 Michael Wilmington
    There's a lot of beauty and excitement in Legends of the Fall - not least from the actors. [13 Jan 1995]
    • Chicago Tribune
    • 64 Metascore
    • 100 Michael Wilmington
    It's tantalizing, delectable and randy, a movie of melting eroticism and toothsome humor.
    • Chicago Tribune
    • 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.
    • 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.
    • 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
    • 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.
    • 18 Metascore
    • 25 Michael Wilmington
    The political movie satire from hell.
    • Chicago Tribune
    • 62 Metascore
    • 50 Michael Wilmington
    For all its glitz and gadgets, is markedly inferior in everything but teen appeal.
    • 67 Metascore
    • 100 Michael Wilmington
    This is a terrific movie: jolting, savage, horrifically funny, nightmarishly exciting but also brainy and compassionate.
    • 58 Metascore
    • 63 Michael Wilmington
    Likable as it is, suffers from that modern big-movie vice: overkill.
    • 74 Metascore
    • 88 Michael Wilmington
    He (Puri) is one of the most consistently excellent film actors that his country - or the world - has produced. And East is East, a grand cultural hybrid, is a real movie, too - raw, funny and wonderfully mixed up.
    • Chicago Tribune

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