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 8.5 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Maidan
Lowest review score: 0 Pokémon: The First Movie - Mewtwo Strikes Back!
Score distribution:
881 movie reviews
    • 75 Metascore
    • 30 Michael Atkinson
    First-timer Dylan Kidd's film isn't Molièrian in its misanthropy, but rather as boneheaded as an hour of talk-radio hobgoblin Tom Leikis.
    • 75 Metascore
    • 80 Michael Atkinson
    Buoyant with quiet smiles and unpretentious fondness.
    • 75 Metascore
    • 30 Michael Atkinson
    Kate Plays Christine is a documentary, but often a totally fake one, cheekily defining itself as its own making-of DVD supplement and documenting its own evaporation into near-nothingness. Every scene cries — or whines — about the entire project's inherent impossibility.
    • 75 Metascore
    • 70 Michael Atkinson
    Winterbottom was set on bare-bones realism, and so the scalding lyricism of ferocious terrain and sociopolitical absurdity seen in, say, "Kandahar" or "A Time for Drunken Horses," is never resourced.
    • 75 Metascore
    • 60 Michael Atkinson
    The movie is so brisk, even-handed, and realpolitik you're never quite sure if it has anything to say.
    • 75 Metascore
    • 80 Michael Atkinson
    At its most contemplative, The Trilogy is a stirring and shrewd portrait of lives lived in oblivious parallel. [Note: From a review of the entire trilogy.]
    • 74 Metascore
    • 70 Michael Atkinson
    Chabrol sets us up, of course, which is half the fun, and the experience is a delight for lack of pomposity (his visual storytelling remains no-nonsense) as well as genre expertise.
    • 74 Metascore
    • 50 Michael Atkinson
    The details are eye-opening (or ear-opening, in the case of marching songs taught to the new Marines about slaughtering Arab schoolchildren), but soon Foulkrod's film backs itself into a Support Our Troops corner.
    • 74 Metascore
    • 50 Michael Atkinson
    Shot in silvery black-and-white, Duck Season is not charmless, just insubstantial.
    • 74 Metascore
    • 52 Michael Atkinson
    As fascinating as the case is as history, however, Scottsboro: An American Tragedy is a TV show, not a movie.
    • 74 Metascore
    • 60 Michael Atkinson
    It's Korzun's film, and she is in complete control of her character, never divulging too much of the haunted woman under the studied facade of American hotsiness.
    • 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.
    • 74 Metascore
    • 60 Michael Atkinson
    Plays like "The Honeymooners" might have if Ralph Kramden were from Pakistan, but with less laughs and more ignorant spite.
    • 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.
    • 74 Metascore
    • 60 Michael Atkinson
    Produced by veteran Chicago doc outfit Kartemquin (and correspondingly bullshit-free), Siegel’s archive-and-talking-heads narrative revels in forgotten details—like Ali, during his suspension from boxing, appearing in an Off Broadway musical about slavery, the taped footage from which is eye-popping.
    • 74 Metascore
    • 50 Michael Atkinson
    Another break in the tension is the inescapable fact that every Holocaust movie, however hair-raising, essentially thrums the same self-sacrifice-versus-self-preservation chord. It's not fair, but there it is: We've been here before.
    • 74 Metascore
    • 30 Michael Atkinson
    The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
    • 74 Metascore
    • 80 Michael Atkinson
    Involuntary doesn't simplify its stories into a single point of view or idea; rather, Östlund is merely visiting these high-pressure moments in which Swedish culture frays, melts down, and betrays its ultra-civilized idea of itself.
    • 74 Metascore
    • 60 Michael Atkinson
    Harmless and affectionate, The Dish gives its clichés breathing room, and so a few are pleasantly surprising.
    • 74 Metascore
    • 90 Michael Atkinson
    It seems easily the most valuable piece of film to emerge about the war in all of its three-plus years.
    • 74 Metascore
    • 50 Michael Atkinson
    A Matter of Taste's largest handicap is restraint: It's too tasteful. The climactic crisis is a broken leg, and the off-screen denouement is unimaginative.
    • 74 Metascore
    • 70 Michael Atkinson
    The filmmaking is fresh and unemphatic, and the acting is generally gripping.
    • 74 Metascore
    • 59 Michael Atkinson
    Shower isn't a bad movie -- just a baneful sign of things to come.
    • 74 Metascore
    • 70 Michael Atkinson
    An informative if shrill primer on the last 35 years of Peruvian plight, the new doc State of Fear may only be effective as an educational tool for Americans, whose media have told them next to nothing about one of the Western Hemisphere's most horrifying killing fields.
    • 73 Metascore
    • 80 Michael Atkinson
    On one hand a seat-o'-pants digital-video quickie designed for blunt trauma, and on the other a veritable index of classic genre-stuff, Boyle's film creates an acute sense of movie-viewing danger.
    • 73 Metascore
    • 70 Michael Atkinson
    In terms of raw wit and fearless satire, the South Park kids put Mike Myers and Adam Sandler to shame.
    • 73 Metascore
    • 67 Michael Atkinson
    It's such an accomplished, beguiling film in its details that you almost don't notice that the story is scattershot, arbitrary, and thin -- almost.
    • 73 Metascore
    • 90 Michael Atkinson
    It's a uniquely lonely film, and one of the year's most memorable.
    • 73 Metascore
    • 70 Michael Atkinson
    Another doc sharing some of its cultural DNA, the spelling-bee melodrama Spellbound, had children, families, social conventions--Creadon's film has only words and people with a little time to waste.
    • 73 Metascore
    • 60 Michael Atkinson
    The cast is largely nonprofessional, and the story has the simplicity of myth.
    • Mr. Showbiz

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