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 Secret Sunshine
Lowest review score: 0 Crush
Score distribution:
849 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 60 Michael Atkinson
    For some viewers, this will seem a trial of predictability and unrelenting sweetness; for others, it's more than enough.
    • Mr. Showbiz
    • 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
    • 39 Metascore
    • 60 Michael Atkinson
    But it's Lopez's movie, and its limitations are hers: Both actress and movie tackle emotional turmoil with a minimum of insight.
    • 49 Metascore
    • 60 Michael Atkinson
    It's a shame that Jeepers Creepers cops out -- as American genre movies have been doing for years -- and plays it safe with an F/X-heavy creature that no one would believe in a thousand years.
    • Mr. Showbiz
    • 75 Metascore
    • 60 Michael Atkinson
    Pure, irrational, claustrophobic, gritty, unpretentious.
    • Mr. Showbiz
    • 63 Metascore
    • 60 Michael Atkinson
    The voyage is never less than interesting, even when you have no idea where it could possibly go.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 60 Michael Atkinson
    Basinger takes her shuddery Stanwyckness very seriously, but everyone else has a ball.
    • 30 Metascore
    • 60 Michael Atkinson
    This might be as perfect a new-millennium Halloween creepshow as we can expect.
    • Mr. Showbiz
    • 49 Metascore
    • 60 Michael Atkinson
    A tepid and surprisingly dull farce stamped from the "About Mary" mold.
    • Mr. Showbiz
    • 56 Metascore
    • 60 Michael Atkinson
    A film the family might've made themselves: sophomoric, hagiographic, amateurishly strobe-happy, and thoroughly hippiefied.
    • 42 Metascore
    • 60 Michael Atkinson
    A mess, bouncing nonsensically from one style of farce to another, leaving large vacuums and dead spots — which may themselves, of course, be deliberate.
    • Mr. Showbiz
    • 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.
    • 47 Metascore
    • 60 Michael Atkinson
    Sags, lollygags, and blusters too much to sustain the what-the-hell momentum that Kitano achieves in his best movies.
    • Mr. Showbiz
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 53 Metascore
    • 60 Michael Atkinson
    Squint through the humbug, and there's some genuine life going on.
    • 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.