Michael Atkinson
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For 862 reviews, this critic has graded:
  • 29% higher than the average critic
  • 3% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 6.7 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Apocalypse Now Redux
Lowest review score: 0 The Cat in the Hat
Score distribution:
862 movie reviews
    • 62 Metascore
    • 50 Michael Atkinson
    Authentic ethical dialogue is conspicuous for its absence, as is the potentially disturbing view of a normal, working-class corner of American society going not-so-quietly cuckoo.
    • 65 Metascore
    • 50 Michael Atkinson
    All in all, the movement turned out to be a godsend for Rio natives, but the film is merely a pep rally.
    • 51 Metascore
    • 50 Michael Atkinson
    Taylor traipses around after Zizek on a continent-hopping lecture tour, and we get a face full of the man's tireless analysis, in a style that can only be characterized as hyperactive grizzly bear, complete with spit-spewing speech impediment.
    • 48 Metascore
    • 50 Michael Atkinson
    Hardly the idiosyncratic Mickey Finn you'd expect from the men behind 1998's underrated "Zero Effect" and 2000's discomfort-splooge "Chuck & Buck."
    • 54 Metascore
    • 50 Michael Atkinson
    Nolte's exploding patriarch jacks up the story's antisocial wish fulfillment into a Nietzschean-anarchist's wet dream, but one can only vainly hope that the preordained sequel will head in that dastardly direction.
    • 71 Metascore
    • 50 Michael Atkinson
    May be the ultimate paradigm of self-reflexive cinema, eating Godard's tail for him and one-upping the classic anti-cartoon Duck Amuck by submitting to a cunning entropy and a self-inquiry so relentless the movie never moves from square one.
    • 58 Metascore
    • 50 Michael Atkinson
    Women of a certain age will kvell, but the point might be better made for the rest of us by rewatching the autumnal Rampling in Ozon's "Under the Sand."
    • 52 Metascore
    • 50 Michael Atkinson
    As is typical of contemporary Italian movies, every one of Comencini's women seems on the verge of a hysterical collapse.
    • 58 Metascore
    • 50 Michael Atkinson
    Kid-pulp screenwriter Goyer (Dark City, Blade I and II) manages some mature textures but his movie never surmounts its manipulative ideas.
    • 49 Metascore
    • 50 Michael Atkinson
    Green Dragon's portrait of refugee angst is decidedly glossy; the grief and lostness are glimpsed rather than explored.
    • 52 Metascore
    • 50 Michael Atkinson
    Monahan's debut has verve and charisma, but, in the end, the tension of a late-night pub shrug.
    • 43 Metascore
    • 50 Michael Atkinson
    Winterbottom never provides the empathic connective tissue we expect. Love it or not, 9 Songs amounts to a common human rite fastidiously caught in amber, giving off no heat or joy but crystallized for the future.
    • 46 Metascore
    • 50 Michael Atkinson
    An entrancing glimpse of true underground Americana.
    • 55 Metascore
    • 50 Michael Atkinson
    It's "Broken Flowers" with bourbon and ten-gallons and meta-country soundtrack warbles.
    • tbd Metascore
    • 50 Michael Atkinson
    Promised Lands is the only western documentary made about the war, but today, the movie seems more remarkable as a Sontag artifact than as political filmmaking.
    • 74 Metascore
    • 50 Michael Atkinson
    As obvious in many ways as its title (and its poster), Mean Creek retains a gritty working-class ambience, but it feels over-rehearsed.
    • 72 Metascore
    • 50 Michael Atkinson
    A modest and mildly pretentious mediocrity in the Woodman canon.
    • 64 Metascore
    • 50 Michael Atkinson
    Complain all you want about Willis's posturing and the rabbit-in-the-hat ending (predicated as it is on a vast plothole), the film is still a rarity, a studio horror movie focused on a child's traumatic stress.
    • 60 Metascore
    • 49 Michael Atkinson
    Turturro's movie is all surface, all artifice, and little substance. Actors love artifice; the rest of us wait for it to clear so we can find something meatier.
    • Mr. Showbiz
    • 41 Metascore
    • 49 Michael Atkinson
    Predictable, tame dreariness.
    • 51 Metascore
    • 48 Michael Atkinson
    Mangold ultimately delivers the same film any number of other Hollywood journeyman could've made from this material, and the results are predictable and stale.
    • Mr. Showbiz
    • 32 Metascore
    • 48 Michael Atkinson
    Somehow manages to stay afloat on a sea of pretension, thanks largely to some splashy visuals.
    • Mr. Showbiz
    • 54 Metascore
    • 48 Michael Atkinson
    Its characters and plot are almost wholly negligible. It's just a party.
    • Mr. Showbiz
    • 70 Metascore
    • 48 Michael Atkinson
    A modest project with an agreeably modest point of view, but it cries out for a sharp, believable naturalism Kusama simply doesn't supply.
    • Mr. Showbiz
    • 75 Metascore
    • 47 Michael Atkinson
    Strains our patience with overacting and photography so sumptuous you can't help but ponder why so much bloodshed and mayhem is being so expertly prettified.
    • Mr. Showbiz
    • 52 Metascore
    • 45 Michael Atkinson
    Crammed with interesting ideas, visuals, and people, but Stone buries it all in a s--tstorm of technique.
    • Mr. Showbiz
    • 55 Metascore
    • 44 Michael Atkinson
    Few other 1999 films are as filthy with tantalizing elements as Agnieszka Holland's The Third Miracle, and of those that come close, none other is as pointless, confused, or unsatisfying.
    • 43 Metascore
    • 44 Michael Atkinson
    A pale, derivative little Brit ditty that will be forgotten almost as speedily as it was dumped...into theaters.
    • 63 Metascore
    • 44 Michael Atkinson
    Whatever extraordinary ingredients are necessary to fashion a 1776 home run, this movie doesn't have them.
    • 48 Metascore
    • 43 Michael Atkinson
    Isn't terribly revealing, and though it is interesting to watch Condo paint, it's only interesting for so long.

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