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 Play
Lowest review score: 0 Stripped
Score distribution:
881 movie reviews
    • 53 Metascore
    • 30 Michael Atkinson
    Eisenstadt has nowhere to go with her catalogue of relaxed urban crazies, and at 79 minutes, the movie is padded out by four song interludes too many.
    • 53 Metascore
    • 60 Michael Atkinson
    She (Rossellini) is radiant in a profoundly ordinary and believable way, as always, and stirs up generational pathos all by herself.
    • 53 Metascore
    • 60 Michael Atkinson
    Squint through the humbug, and there's some genuine life going on.
    • 53 Metascore
    • 60 Michael Atkinson
    Even more of a party-hearty-Marty potlatch of silliness than its predecessor. The franchise having been established, Verbinski, Bruckheimer, and Co. have been liberated to indulge in absurdities, pile on the so-old-they're-new-again clichés, and make jokes at their own expense.
    • 52 Metascore
    • 70 Michael Atkinson
    The historical road less traveled - shot in re-enactments that are obviously familiar with the terrain - is beguiling enough.
    • 52 Metascore
    • 30 Michael Atkinson
    The film is stale Chinese popcorn from the get-go, with only Chen's wiry guilelessness and wicked athletic skills to keep it remotely edible.
    • 52 Metascore
    • 30 Michael Atkinson
    The movie hardly has enough beef on its bones to make a meal. The very notion that movies about torture are considered "horror," and are more profitable now per foot of celluloid than any other type of independent film, is what's qualmy.
    • 52 Metascore
    • 70 Michael Atkinson
    For audiences new to this type of moon-mad magical realism and unembarrassed romanticism, Orfeu can spellbind.
    • Mr. Showbiz
    • 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.
    • 52 Metascore
    • 50 Michael Atkinson
    Monahan's debut has verve and charisma, but, in the end, the tension of a late-night pub shrug.
    • 52 Metascore
    • 40 Michael Atkinson
    The net effect would be doze-inducing if in fact the Dolby didn't attempt to wake the dead.
    • 52 Metascore
    • 10 Michael Atkinson
    For world-class lapses of judgment, Andrei Konchalovsky's House of Fools is a berserk overachiever.
    • 52 Metascore
    • 70 Michael Atkinson
    Bizarre, off-putting, and finally demanding of rubberneck respect, this fish-tank indie never leaves a rather lovely duplex apartment, occupied by an unemployed Everyman (Brendan Fletcher) and his roommate, Jimmy (director Matt D'Elia).
    • 52 Metascore
    • 50 Michael Atkinson
    While the line-readings are often dead-on, Fishburne's movie suffers from the usual one-room claustrophobia and Mametian repetitions.
    • 52 Metascore
    • 40 Michael Atkinson
    You're stuck daydreaming about a far, far better movie.
    • 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
    • 52 Metascore
    • 20 Michael Atkinson
    Endearingly pretentious -- as if it swallowed a thick brick of Beckett and can't pass the uncooperative Beckettian stool.
    • 52 Metascore
    • 40 Michael Atkinson
    Zucker's frenzied trifle is painless, with a few decent running gags -- and an ocean of bad ones.
    • 52 Metascore
    • 50 Michael Atkinson
    A watchable mediocrity at best.
    • Mr. Showbiz
    • 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.
    • 51 Metascore
    • 30 Michael Atkinson
    Gardos, an experienced film editor, has little narrative sense, and decent performances (except from Kinski, who just worries and huffs around) are left out to dry.
    • 51 Metascore
    • 80 Michael Atkinson
    Just as fabulously cartoon-Gothic as "Sleepy Hollow."
    • 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
    • 51 Metascore
    • 50 Michael Atkinson
    Rarely funny and straining to reach feature length, The American Astronaut achieves sweetness via its straight-faced take on utter gobbledygook.
    • 51 Metascore
    • 80 Michael Atkinson
    Myers has hit upon a genuinely original schtick, and that fact alone is immeasurably groovy.
    • Mr. Showbiz
    • 51 Metascore
    • 41 Michael Atkinson
    Has only its actors to keep it afloat.
    • 51 Metascore
    • 50 Michael Atkinson
    Suggest a Clintons-at-home scenario for 2001 -- haunted by the ghosts of dalliances past.
    • 51 Metascore
    • 60 Michael Atkinson
    A low-bore DeLillo-ness plays at the movie's edges, but does it aggregate into a substantial something? Not really, but the traces of postmodern dread, however Haneke-lite it all may be (isn't everything Haneke-lite?), can tickle your short hairs if you're prone.
    • 51 Metascore
    • 50 Michael Atkinson
    Even though Gray is no raw-boned rookie-he has made TV movies for decades, plus, back in the day, a single Steven Seagal floater-his movie is rather inexcusably obvious, going for "troot," but recycling dese-dose-dem clichés already pressed into plastic lumber 25 years ago.

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