Michael Atkinson

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For 881 reviews, this critic has graded:
  • 30% higher than the average critic
  • 3% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 8.4 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Terrorizers (1986)
Lowest review score: 0 Bewitched
Score distribution:
881 movie reviews
    • 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.
    • 40 Metascore
    • 43 Michael Atkinson
    X
    It's gibberish, but when X works at all, it works not on the brain, but on the gut.
    • 21 Metascore
    • 42 Michael Atkinson
    A thoroughgoing mediocrity that musters up just enough low-down chuckles to remind you that you're not watching another Freddie Prinze Jr. yawner.
    • 49 Metascore
    • 42 Michael Atkinson
    An empty, affected exercise, executed with just enough style to make you wish McQuarrie had a motive beyond his own career.
    • 66 Metascore
    • 41 Michael Atkinson
    Provocative but lame-brained polygamy comedy.
    • 51 Metascore
    • 41 Michael Atkinson
    Has only its actors to keep it afloat.
    • 28 Metascore
    • 41 Michael Atkinson
    Aims low and cheats on an ending, but meanwhile it's a bottom-shelf hoot.
    • Mr. Showbiz
    • 59 Metascore
    • 41 Michael Atkinson
    Hardly a ripping, inspired children's film.
    • 45 Metascore
    • 40 Michael Atkinson
    Mostly pathetic but on occasion grimly funny.
    • 41 Metascore
    • 40 Michael Atkinson
    Exhausting and fruitless: Having seen it, you know nothing more about strippers or the stripper mentality than you did going in. What's the point?
    • Mr. Showbiz
    • 59 Metascore
    • 40 Michael Atkinson
    Only Nthati Moshesh, as a single black mother working as a housekeeper wooed by a displaced Congolese (Eriq Ebouaney), makes a dent in white-American-expatriate Mark Bamford's toothless scenario.
    • 68 Metascore
    • 40 Michael Atkinson
    His movie (Jordan's) winnows the original's existentialist fable into a busy caper thriller, copping plot devices from Soderbergh's "Ocean's 11" and even straining to Wong Kar-wai its camera's way around the fleshpots of Nice. It's all pizzazz, and the pizzazz is all borrowed.
    • 49 Metascore
    • 40 Michael Atkinson
    Treading on a shameful piece of French history, Bosch bizarrely intercuts scenes of Hitler, Himmler, and Hess working out the logistics of the exportations, in vignettes that smack of "Inglourious Basterds" farce, but otherwise, she's got a steady grip on the tear-jerking, if that's your awards-season cocktail.
    • 56 Metascore
    • 40 Michael Atkinson
    Cliché-density aside, Roger Donaldson's perfectly rote movie is childishly naive about the reality of the CIA as it stands in the official record and in the public mindset.
    • 76 Metascore
    • 40 Michael Atkinson
    Wacky, vividly conceived but mundanely executed cartoon fantasy.
    • 62 Metascore
    • 40 Michael Atkinson
    Land of Plenty is a woozy fantasia on California dreaming, all agog at urban strife and blabby with redundant voiceover.
    • 43 Metascore
    • 40 Michael Atkinson
    Years of HBO seasoning has given Garlin and his cast a sure touch and great timing...but the whole project is mean-hearted and lazy, and it dawdles in repetition and dead air as if it's got a 14-show TV season to spin out.
    • 60 Metascore
    • 40 Michael Atkinson
    Apart from the historical eminence of the poetry itself, Pandaemonium is about nothing much at all.
    • Mr. Showbiz
    • 37 Metascore
    • 40 Michael Atkinson
    Penn goes for larger-than-life, wrapping his pinched frown around an unintelligible Louisiana drawl and swinging his arms like an autistic evangelist... Law is no asset--looking rather sadly like John Ireland (the actor who played the 1949 Jack Burden), he has little control over his accent and zero energy.
    • 60 Metascore
    • 40 Michael Atkinson
    Dryly cynical; the scenarios pit plump, amoral, industrialized Jews against draconian, wife-beating, tribal Arabs.
    • 35 Metascore
    • 40 Michael Atkinson
    A standard-issue fin de siècle costume parade, simplifying every dramatic transaction to a torpid minimum but never answering its own looming "why": Why Alma?
    • 25 Metascore
    • 40 Michael Atkinson
    Campbell is the movie's primary power source. His steely gaze and overbearing quietude are forever tainted; "Once and Again" doesn't stand a chance in Lifetime reruns.
    • 52 Metascore
    • 40 Michael Atkinson
    You're stuck daydreaming about a far, far better movie.
    • 43 Metascore
    • 40 Michael Atkinson
    I have a friend who insists Allen should make a western, if only because the demands of genre might force the birth of new ideas. His movies do create and service an innovation-free comfort zone that makes most TV sitcoms seem adventurous.
    • 55 Metascore
    • 40 Michael Atkinson
    Gave me a craving for something nouvelle, not a half-hearted Hollywood co-optation.
    • 43 Metascore
    • 40 Michael Atkinson
    Jonesing for headlines and gossip-buzz, Wonderland is too look-Ma for its own good -- the simple story of a doomed hop-hog over his head in bad shit could've hit the nerve if left to tell itself.
    • 46 Metascore
    • 40 Michael Atkinson
    Watching this movie go through its simplistic dramatic motions, you begin to understand why some actors stick to summer stock and live Ibsen revivals.
    • Mr. Showbiz
    • 46 Metascore
    • 40 Michael Atkinson
    Overshadowed by its own marketing hurricane and popular rage, Code struggles for significance as a movie experience and flies a weak flag as a provocation.
    • 68 Metascore
    • 40 Michael Atkinson
    Documentarian Anailín Lucy Mulloy’s eye for the decaying textures of modern Cuba on the ground is sharp, and there are passages—as the dull characters mope and kill time and work up snits—in which you wish the movie were simply nonfiction. As it is, everything feels fake except the Centro Habana barrios themselves.
    • 48 Metascore
    • 40 Michael Atkinson
    Little more than a résumé film for all involved, it certainly feels more Park City than Bushwick.

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