Michael Atkinson
Select another critic »
For 849 reviews, this critic has graded:
  • 28% higher than the average critic
  • 3% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 6.8 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Brazil
Lowest review score: 0 I Am Sam
Score distribution:
849 movie reviews
    • 93 Metascore
    • 100 Michael Atkinson
    You either love it or you love it; in any case, Martin Scorsese's history-making scald is truly a phenomenon from another day and age.
    • 80 Metascore
    • 100 Michael Atkinson
    An organic, childlike wonder, fabulously unpredictable and seethingly inventive.
    • 100 Metascore
    • 100 Michael Atkinson
    Bertolucci's masterpiece--made when he was all of 29--will be the most revelatory experience a fortunate pilgrim will have in a theater this year is a foregone conclusion.
    • 99 Metascore
    • 100 Michael Atkinson
    Laughton understood Agee's proximity to Grimm vaudeville, and fashioned the most intensely expressionistic movie of its day.
    • 86 Metascore
    • 100 Michael Atkinson
    Ozon -- has finally hit a home run, and Rampling is his most remarkable RBI.
    • Mr. Showbiz
    • 78 Metascore
    • 100 Michael Atkinson
    One of the year's best films, and certainly its most challenging so far: At more than three hours, watching it is less like consuming entertainment and more like living.
    • 69 Metascore
    • 100 Michael Atkinson
    Nonchalantly freaky and uncommonly pleasurable, Warm Water may well be the year's best and most unpredictable comedy.
    • 85 Metascore
    • 100 Michael Atkinson
    Naturalistic, gritty, and unrelenting.
    • Mr. Showbiz
    • 84 Metascore
    • 100 Michael Atkinson
    Achieves an abrading, intimate, primal force his later films only hint at. It's difficult to imagine the Euripides original ever being more eloquently adapted.
    • 81 Metascore
    • 100 Michael Atkinson
    Another unforetold career acme: Christopher Guest's seductive and brilliantly modulatory A Mighty Wind, which trains its laser-sight on the decaying legacy of Peter, Paul and Mary-style pop-folk.
    • 90 Metascore
    • 100 Michael Atkinson
    No other movie released this year is as much of a filmgoing necessity as Francis Ford Coppola's Apocalypse Now Redux.
    • Mr. Showbiz
    • 82 Metascore
    • 100 Michael Atkinson
    Safe Conduct -- a rangy, irreverent, episodic odyssey through French filmmaking during the Occupation -- is one of the very best movies ever made about the life of moviemaking.
    • 71 Metascore
    • 100 Michael Atkinson
    In today's digital bog of empty light and marketing deceptions, this is what early-millennium Euro art-film masterpieces feel like--lean, qualmish, abstracted to the point of parable but as grounded as a gravedigging.
    • 88 Metascore
    • 100 Michael Atkinson
    It remains a stunning achievement, if nearly as exhausting and frustrating as the Tex Avery bureaucracy it roasts, but Gilliam's stylistic dysfunctionalities, art-directed out of junkyards, are what still percolate in the forebrain.
    • 96 Metascore
    • 100 Michael Atkinson
    The hard-charging originality of the screenplay—the equivalent of turning "The Hot Zone" into a Farrelly comedy—suggests a deficient legacy of credit to Terry Southern's corner.
    • 81 Metascore
    • 100 Michael Atkinson
    Amid the chaos of this marvelous, uncategorizable film squirms one of the year's best performances.
    • Mr. Showbiz
    • 84 Metascore
    • 100 Michael Atkinson
    One of the year's best films.
    • 76 Metascore
    • 100 Michael Atkinson
    Hara-Kiri: Death of a Samurai is more than just another bid for respectability, like "13 Assassins" -it may well be Miike's best film, a patient, ominous piece of epic storytelling that conscientiously rips the scabs off the honorable samurai mythology.
    • 92 Metascore
    • 100 Michael Atkinson
    One of the year's most hypnotic and fascinating films.
    • 65 Metascore
    • 100 Michael Atkinson
    It might be the most lonesome film about a tropical vacation we've seen, and the greatest film ever made about the weird socioeconomics of tourism.
    • 100 Metascore
    • 100 Michael Atkinson
    Voyage to Italy is close to watching actual strangers suffer loneliness despite being together. It can leave an aching bruise, but only if you're paying attention.
    • 86 Metascore
    • 100 Michael Atkinson
    There's little sense in trying to resist the film's relentless boogie-woogie party vibe, its tumultuous visual banquet, its unpredictable sense of switchblade satire, its fools' parade of modern grotesques, or its river of startling melancholy, turning from a wary trickle to a flash flood by film's end. Sorrentino's vision is the size of Rome itself, and his confidence is dazzling.
    • 92 Metascore
    • 94 Michael Atkinson
    The one movie so far this year that every filmgoer should see, if only to get a big dose of what we've been missing from Hollywood.
    • 84 Metascore
    • 93 Michael Atkinson
    So breathtakingly textural, so empathic in its images, that it transcends its context and achieves timelessness.
    • 86 Metascore
    • 93 Michael Atkinson
    The best film we'll see this year.
    • Mr. Showbiz
    • 70 Metascore
    • 92 Michael Atkinson
    Normal ideas of truth, illusion, and representation are sent into the meat grinder, and the result is consistently disarming and beautiful.
    • 82 Metascore
    • 91 Michael Atkinson
    For the discouraged filmgoer, Erice's tone poem will be a ray of hope itself.
    • Mr. Showbiz
    • 74 Metascore
    • 90 Michael Atkinson
    Whatever its oversteps and excesses (I do think Park ran a little amok with the computer gimcrackery), Oldboy has the bulldozing nerve and full-blooded passion of a classic.
    • 82 Metascore
    • 90 Michael Atkinson
    It's an altogether remarkable piece of work, deepening the genre while whipping its skin off, satirizing an entire nation's nearsighted apathy as it wonders, almost aloud, about the nature of truth, evidence, and social belonging.
    • 78 Metascore
    • 90 Michael Atkinson
    Mood is everything, trumped up by a score so rich with pop songs, bossa nova drama, and symphonic mournfulness it's almost a movie on its own. 2046 may be a Chinese box of style geysers and earnest meta-irony, but that should not suggest there aren't bleeding humans at the center of it.