Michael Atkinson
Select another critic »
For 849 reviews, this critic has graded:
  • 28% higher than the average critic
  • 3% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 6.8 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Brazil
Lowest review score: 0 The Cat in the Hat
Score distribution:
849 movie reviews
    • 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.
    • 73 Metascore
    • 60 Michael Atkinson
    The loss of the first film's hurtling who-am-I? story engine is keenly felt, and too much time is spent observing the characters get on and off planes, trains, and automobiles.
    • 60 Metascore
    • 60 Michael Atkinson
    Basinger takes her shuddery Stanwyckness very seriously, but everyone else has a ball.
    • 55 Metascore
    • 60 Michael Atkinson
    The question of whether this is a movie about reincarnation or fate or middle-aged delusion remains unaddressed far beyond our capacity to care. Many of the admirably long conversational scenes are pointless; some, like Harden and Linney's climactic bitch-fest in a hotel room, are flat-out absurd.
    • 56 Metascore
    • 60 Michael Atkinson
    A film the family might've made themselves: sophomoric, hagiographic, amateurishly strobe-happy, and thoroughly hippiefied.
    • 81 Metascore
    • 60 Michael Atkinson
    There's something dull and evasive at the film's center--for one thing, contrary to its festival buzz, Bad Education tiptoes around the issue of priesthood pedophilia; lovelorn gazes are as desperate as it gets.
    • 62 Metascore
    • 60 Michael Atkinson
    Murray is always pleasurable company, and his barely suppressed soulfulness might've supported this dawdling big-fish story if its insistent larkiness had abated and let a little reality in, as had "Rushmore."
    • 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.
    • 70 Metascore
    • 60 Michael Atkinson
    Seasonally it's more appropriate as a May Day bacchanal, but in any month Demy's movie makes for an evocative globe-paperweight tableau of its place and time, and a concise demonstration of the disquietude inherent in classic fairy tales.
    • 61 Metascore
    • 60 Michael Atkinson
    Perhaps a radical re-editing of Fear X-like Lynch did on “Mulholland Drive”-could rescue the film's workaday unease from the dread taboo of derivative weirdness. It's half a movie, but a half that hums.
    • 76 Metascore
    • 60 Michael Atkinson
    Machuca is still a half-measure. Wood is fastidious about period set design, but not much else; rather than burning with experience, the film feels opportunistic.
    • 49 Metascore
    • 60 Michael Atkinson
    Bad Guy, one of the seven films in Kim's fascinating back catalog, is another kind of cocktail--simple, bitter, served straight and in an unwashed glass.
    • 37 Metascore
    • 60 Michael Atkinson
    Rock is brave, fully invested in his character, and with a wide-open face and foolish grin, outrageously funny. It's a singular performance achieved without condescension or camp. Who'd a-thunk it?
    • 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."
    • 54 Metascore
    • 60 Michael Atkinson
    One Missed Call, one of the five movies he made in 2003, is no more than Miike's shot at generating a polished, rote, expertly composed J-horror flick.
    • 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.
    • 70 Metascore
    • 60 Michael Atkinson
    Nolan and his co-screenwriter David Goyer can only press the big buttons so hard—it's still an old-school superhero summer movie, the plotting tortuous, the characters relegated to one-scene-one-emotion simplicity, the digitized action a never ending club mix of chases and mano a manos.
    • 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.
    • 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.