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

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Play
Lowest review score: 0 I Am Sam
Score distribution:
862 movie reviews
    • 65 Metascore
    • 63 Michael Atkinson
    Burton's films are endearing and impassioned despite the fact that they generally fail to tell a whole story, create a single rounded character, or inspire even mild laughs or chills.
    • 77 Metascore
    • 63 Michael Atkinson
    The dilemma is simple: Living, making art, and then dying does not constitute much of a story.
    • 72 Metascore
    • 63 Michael Atkinson
    Accomplished, middlebrow costume-drama entertainment. It's not so simple that it could be mistaken for the work of, say, Lasse Hallström, and yet it's not so sophisticated that audiences of "Chocolat" would be mystified.
    • 56 Metascore
    • 63 Michael Atkinson
    It's a drab, familiar story with no oomph (and less humor than you'd think), and it's inconsistent.
    • 64 Metascore
    • 62 Michael Atkinson
    Mature and adroitly performed but ultimately underachieving.
    • 72 Metascore
    • 61 Michael Atkinson
    It's yet another serial killer movie, a plot element that by this point in time, far from being disturbing or fascinating, is just plain dull.
    • Mr. Showbiz
    • 44 Metascore
    • 61 Michael Atkinson
    There's a sense of life to Committed that's unpredictable and sweet, but too much of it is cluttered with lazy shortcuts.
    • Mr. Showbiz
    • 70 Metascore
    • 61 Michael Atkinson
    From the beginning of his career a fervent, epic documentarian, Herzog is a personal filmmaker as well, and My Best Fiend is certainly his most intimate and introspective film.
    • 67 Metascore
    • 60 Michael Atkinson
    Spear's portrait of unpaid, passionate fastpitchers could give filmmakers of all budgets a notion of how real Americans speak.
    • 61 Metascore
    • 60 Michael Atkinson
    Despite the soft-spoken Smith, a type-A British liaison self-named the Turbocharger, and the apparent involvement of the IRA, the doc prioritizes flash over facts, leaving you pining for the New Yorker exposé it could've been.
    • 75 Metascore
    • 60 Michael Atkinson
    Some of the buckshot hits its target: Shrek's second sidekick, assassin-turned-comrade Puss in Boots, is voiced by Antonio Banderas as an outrageously mock-dramatic Spaniard with most of the pig-pile screenplay's best toss-offs.
    • 65 Metascore
    • 60 Michael Atkinson
    Either way, Kim's rather clumsily acted film remains monstrously effective ookiness, with crepuscular cinematography (by the Hollywood-destined Kim Byeong-il) that suggests a nightmare endured from inside a suffocating velvet pillowcase.
    • 30 Metascore
    • 60 Michael Atkinson
    This might be as perfect a new-millennium Halloween creepshow as we can expect.
    • Mr. Showbiz
    • 40 Metascore
    • 60 Michael Atkinson
    Beneath may be an earnest goof, but any intended irony is so spiked with rainy-day-matinee movie love that the result is an oddly guileless horror exercise, unscary but rather adorable.
    • 51 Metascore
    • 60 Michael Atkinson
    The omnibus film usually saves its home run for the climax, but Eros begins with the best third, Wong Kar-wai's "The Hand."
    • 61 Metascore
    • 60 Michael Atkinson
    What can a movie tell us about the painter that the paintings do not? The effort has done no favors for Picasso or Rivera or Bacon.
    • 63 Metascore
    • 60 Michael Atkinson
    The movie does what any self-respecting politician would do: sidestep the issues, soft-pedal mortal costs, talk a fat game, and divert your attention away from history with exercises in spectacle and power.
    • 57 Metascore
    • 60 Michael Atkinson
    Madagascar's relaxed density is a relief given the DreamWorks tendency to overbear, overblast, and overcaricaturize.
    • 49 Metascore
    • 60 Michael Atkinson
    Though bourgie audiences looking for a sun-warmed romance will be slapped; the movie may look pretty and may plod, but it also leaves a bruise.
    • 63 Metascore
    • 60 Michael Atkinson
    The voyage is never less than interesting, even when you have no idea where it could possibly go.
    • 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.
    • 31 Metascore
    • 60 Michael Atkinson
    The material it does pull off is daring and sharp.
    • Mr. Showbiz
    • 62 Metascore
    • 60 Michael Atkinson
    At times you can feel Van Sant trying to loosen the movie's windpipe-folding collar, but he doesn't get far, except with Busta Rhymes, as Jamal's gone-nowhere big brother.
    • 75 Metascore
    • 60 Michael Atkinson
    Arresting, visually accomplished documentary.
    • Mr. Showbiz
    • 40 Metascore
    • 60 Michael Atkinson
    Repetitive, aimless, and as frustrating as you'd imagine any two-hour music video to be.
    • Mr. Showbiz
    • 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.
    • 57 Metascore
    • 60 Michael Atkinson
    As amusing and sharply performed as it is, Lisa Picard quickly grows thin and dull. Perhaps it would have been better as a real documentary, with Kirk and DeWolf simply playing their pathetic selves.
    • Mr. Showbiz
    • 49 Metascore
    • 60 Michael Atkinson
    A tepid and surprisingly dull farce stamped from the "About Mary" mold.
    • Mr. Showbiz
    • 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.
    • 49 Metascore
    • 60 Michael Atkinson
    Glossy, gruesome police drama.
    • Mr. Showbiz

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