For 633 reviews, this critic has graded:
  • 25% higher than the average critic
  • 3% same as the average critic
  • 72% lower than the average critic
On average, this critic grades 7.3 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
Average review score: 52
Highest review score: 100 Safe Conduct
Lowest review score: 0 I Am Sam
Score distribution:
633 movie reviews
    • 73 Metascore
    • 40 Michael Atkinson
    The upshot is a general fog of two-dimensional characterization, slowly churning plot gearwork, and an ineffective air of forced lyricism.
    • tbd Metascore
    • 70 Michael Atkinson
    However defined, the movie's a moody piece of Wellesian chiaroscuro (shot by Max Greene, né Mutz Greenbaum) and an occasionally discomfiting underworld plunge, particularly when the mob-controlled wrestling milieu explodes into a kidney-punching donnybrook.
    • 73 Metascore
    • 50 Michael Atkinson
    Not a farce, or comedy or drama, but essentially a doodle interrupted by nouveau ballet performances, the entire contraption assembled to please the ego of Neve Campbell.
    • 73 Metascore
    • 50 Michael Atkinson
    Ray
    Hackford's movie falls into a meandering saunter. As the music grows dull, so does the movie.
    • 73 Metascore
    • 50 Michael Atkinson
    What's abundantly clear is how far this kind of moviemaking has come from any knowledge of real criminal life; it's a geek's ineffectual daydream of mayhem.
    • 73 Metascore
    • 70 Michael Atkinson
    The Weeping Meadow shares the awed sense of solemn apocalypse with his (Angelopoulos) signature films, but it's lighter, more musical and folktale-ish.
    • 73 Metascore
    • 70 Michael Atkinson
    Although it's thoroughly retooled, H.G. Wells's scenario doesn't allow for many soft landings, and the extreme respect for havoc on view quite properly keeps the Spielbergian cutesies to a minimum.
    • 73 Metascore
    • 70 Michael Atkinson
    The Fall of Fujimori is more-or less-than the flip side to last week's Film Forum Peru primer "State of Fear": It's a prismatic shudder, a maddening manifestation of historical ambivalence.
    • 72 Metascore
    • 60 Michael Atkinson
    Plenty of twisty scripting makes the queasy damage seem conceptually neat and tidy, as if that's a good idea, but what we need here is a little more meat.
    • 72 Metascore
    • 70 Michael Atkinson
    As the monks themselves threaten to nod off, the film's impressive narcotic effect enters the bloodstream-or so it may seem only for the unenlightened like me.
    • 72 Metascore
    • 70 Michael Atkinson
    Busting with clips from films Haskell Wexler shot and directed, the doc is a rare thing: an ingenuous portrait of a thoroughly Four-Square Artist, Assembled With Love And Rockets Inside A Family's Spite-Tainted Gates.
    • 72 Metascore
    • 70 Michael Atkinson
    The hair may thin considerably under Brick's hat after a while, and Hammett redone remains Hammett half done, but while the plates are in the air, it's a spectacle of nerve.
    • 72 Metascore
    • 70 Michael Atkinson
    A sealskin-slick, cat-and-mouse romance-caper trifle with a hard-on for wealth that feels downright Trumpian.
    • 72 Metascore
    • 70 Michael Atkinson
    Still, the textures of Refn's wallow in bad behavior are completely convincing, if the plot-stuff is a little familiar and if the overarching notion that, as Quentin Tarantino said somewhere, "gangsters have kitchens, too" seems by now valid but no longer terribly fresh.
    • 72 Metascore
    • 50 Michael Atkinson
    A modest and mildly pretentious mediocrity in the Woodman canon.
    • 71 Metascore
    • 40 Michael Atkinson
    Honestly, Courtney and his crew all seem like nice people, but if there's an unironic audience for this kind of romantic jock-cup fondling, I'm not interested in knowing it.
    • 71 Metascore
    • 50 Michael Atkinson
    Today, the movie doesn't portend Altman's subsequent tailspin into irrelevance as much as it suggests a restlessness with the comic realism he had mastered.
    • 71 Metascore
    • 60 Michael Atkinson
    Romero's fourth-grade dialogue doesn't help matters, but anyone seeking out the latest achievements in cranial ruptures, spewing-blood gouts, and ground-beef spillage need look no further.
    • 71 Metascore
    • 70 Michael Atkinson
    There are trifling signs of freshmanship, but also a steady observant eye, and in the end Leap Year bears heartbreaking witness to hopeless depression, isolation, and the failure of sex as few movies ever have.
    • 71 Metascore
    • 70 Michael Atkinson
    Has an intemperate vitality that's hard to resist.
    • 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.
    • 71 Metascore
    • 50 Michael Atkinson
    Man Push Cart is a diminutive film, finally--vying for a neorealist vibe, it lacks the Italian history makers' narrative urgency, and the sociopolitical conflict at the heart of the immigration "issue" is hardly engaged.
    • 71 Metascore
    • 80 Michael Atkinson
    A successful novelist and restrained actor's director, Carrére makes the transformation of a silly marital argument into a cosmic upheaval look easy, and profound as well.
    • 71 Metascore
    • 60 Michael Atkinson
    Instead of hitting the gas and allowing the scenario to rock 'n' roll with g-forces, Reitman keeps his movie small, unvaried, slack, and deliberately and oddly, completely smoke-free.
    • 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.
    • 71 Metascore
    • 80 Michael Atkinson
    Zeta-Jones is merely ravishing, but Clooney owns the film. Ordinarily best at sardonic, man's-man confidence, he strides through Intolerable Cruelty with fantastic screwball zest. To see Clooney tenderize, season, grill, and serve this ham hock of a role is to see an old-fashioned virtuoso in perpetual motion.
    • 71 Metascore
    • 60 Michael Atkinson
    A decent little exercise in nativist outrage, Rolf de Heer's The Tracker, with its dynamic between indigene and colonial oppressor, could've easily been a western.
    • 71 Metascore
    • 50 Michael Atkinson
    Dolls risks the bank on symbology as gaudy as teen anime and as heavy as a stone temple.
    • 71 Metascore
    • 50 Michael Atkinson
    It's a TV show and a facile one at that.
    • 71 Metascore
    • 40 Michael Atkinson
    Beauvois, who co-wrote, seems hellbent on making the most realistic cop film of all time, shruggingly consumed with downtime, small talk, minor incident, and dead ends, and he's succeeded--the narrative wouldn't have cut it in a Kojak story meeting.