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 6.7 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 Lara Croft Tomb Raider: The Cradle of Life
Score distribution:
862 movie reviews
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 62 Michael Atkinson
    Mature and adroitly performed but ultimately underachieving.
    • 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
    • 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
    • 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.
    • 75 Metascore
    • 60 Michael Atkinson
    Polished and adroit ado about next to nothing, Hodges's film owes everything to Owen, who nails the vaguely unsavory, unreadable, half-lidded hunks that inhabit every profitable entertainment-industry outpost.
    • 74 Metascore
    • 60 Michael Atkinson
    Harmless and affectionate, The Dish gives its clichés breathing room, and so a few are pleasantly surprising.
    • 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.
    • 81 Metascore
    • 60 Michael Atkinson
    Juliet is never less than eye-catching, but is rarely more.
    • 59 Metascore
    • 60 Michael Atkinson
    Being French, the film at least has indelible details -- something a Hollywood remake would fix but good.
    • 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.
    • 65 Metascore
    • 60 Michael Atkinson
    The doc is also fat with film clips from before and after the 1979 revolution, but innocent of sensationalism as they are, Iranian films aren't terribly quotable—except when used to illustrate how filmmakers must choreograph their action so that men and women never touch on-screen.
    • 69 Metascore
    • 60 Michael Atkinson
    It's boilerplate Miramax: a sentimental import with lovingly photographed Euro locale.
    • 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.
    • 69 Metascore
    • 60 Michael Atkinson
    There's no denying bespectacled, brace-ridden, homely wild child Eliza (Lacey Chabert), who can speak to animals and emerges as one of the most stirring heroines in contemporary media.
    • 78 Metascore
    • 60 Michael Atkinson
    Hilary and Jackie tries far too hard to dictate emotional involvement right out of the gate, and you're left counting off the doom-laden cues for things that are sure to return full circle.
    • 66 Metascore
    • 60 Michael Atkinson
    Virtually plot-free, the movie's organic cultivation of Argentina's economic tension and ethnophobic woes is smooth as silk.
    • 36 Metascore
    • 60 Michael Atkinson
    Davis has energy, but she doesn't bother to make her heroine's book sound convincing, the gender-war ideas original, or the comic scenes fly. Instead, the film is buttressed by song montages and jokey chapter titles.
    • 62 Metascore
    • 60 Michael Atkinson
    It's a generous document of cultural passage, and not incidentally, the sexiest naturally nudist American movie since Murnau's "Tabu." Moss, however, keeps himself out of the picture and neglects massive amounts of context that might've made Same River a stunner.
    • 45 Metascore
    • 60 Michael Atkinson
    Casting Tokyo as a neon wilderness thick with aged "perverts" and teenage pimps, the movie frames a critique of socially permissible pedophilia as indelible as Harada's eavesdropping mise-en-scène.
    • 53 Metascore
    • 60 Michael Atkinson
    Squint through the humbug, and there's some genuine life going on.
    • 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.
    • 73 Metascore
    • 60 Michael Atkinson
    The tale's faux-fable simplicity is cunningly eloquent.
    • 57 Metascore
    • 60 Michael Atkinson
    Israel's one-man new wave, Amos Gitai, surveys his nation's hardscrabble quotidian in Alila, which dallies with both Kiarostamian spirit and Altman-esque fabric, examining the intersecting lives of a dozen or so Tel Aviv residents.
    • 58 Metascore
    • 60 Michael Atkinson
    It is, like most, an unnecessary remake, but the new, digitally boosted Dawn of the Dead brings it on with a 10-minute overture that might be the most upsetting tin-can apocalypse modern movies have ever seen.
    • 65 Metascore
    • 60 Michael Atkinson
    C&C hardly coalesces, but then again, it doesn't try to--never more or less than what it appears to be, the film is a slow honky-tonk thud-beat, only intermittently punctuated by a joke or idea.
    • 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.

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