Michael Atkinson

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For 868 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 6.9 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Medea
Lowest review score: 0 The Cat in the Hat
Score distribution:
868 movie reviews
    • 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
    • 59 Metascore
    • 60 Michael Atkinson
    At once arch, derivative, and, in the end, bizarrely lyrical.
    • Mr. Showbiz
    • 81 Metascore
    • 60 Michael Atkinson
    Juliet is never less than eye-catching, but is rarely more.
    • 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.
    • 73 Metascore
    • 60 Michael Atkinson
    Mild as satire and completely unconvincing as tragicomedy.
    • Mr. Showbiz
    • 69 Metascore
    • 60 Michael Atkinson
    A movie of one billion cigarettes, Hannah Arendt is about moral reason, not personality. It could do worse than lead you straight to the woman’s books.
    • 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.
    • tbd Metascore
    • 60 Michael Atkinson
    Directors Jenner Furst and Daniel Levin go for montaged ambience, and Levin's lyrical camerawork limns a beguiling, modestly Wong Kar-wai–ish rhapsody out of very little. When Levin's lens is focused on Shirtcliff's unwashed hair and spectral eyes, the film grabs hold of something sweet and sad.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 60 Michael Atkinson
    Amelio might just be trifling around, and sometimes that's how the film feels — rudderless and unsure of its own purpose. If fuzzy thematic thrust doesn't bug you, however, the essence of Albanese as a shrugging everyman for post-debt-crisis Europe may be its own reward.
    • 61 Metascore
    • 60 Michael Atkinson
    Packed with melodrama, and often it works in the passionate, easy-to-watch manner of an old-fashioned "woman's film."
    • Mr. Showbiz
    • 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.
    • 59 Metascore
    • 60 Michael Atkinson
    Being French, the film at least has indelible details -- something a Hollywood remake would fix but good.
    • 69 Metascore
    • 60 Michael Atkinson
    Full of well-observed supporting riffs, Crash might've accumulated more frisson had it cast a clearer eye on how social tension actually plays.
    • 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.
    • 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.
    • 60 Metascore
    • 60 Michael Atkinson
    White’s revelation-free, nostalgia massage of a film works the archivals with genuine fondness.
    • 70 Metascore
    • 60 Michael Atkinson
    This shadowy film may ooze with espionage enigma, but Darby’s real-life role finds him casting himself as a crusader; he’s like a hipster Zelig, lost among media appearances, evasive social principle and TV-propagated naïveté.
    • 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
    • 62 Metascore
    • 60 Michael Atkinson
    If the movie stops short of exploring its own baggage, the actors still make for unforgettable company.
    • 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
    • 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.
    • 60 Metascore
    • 60 Michael Atkinson
    Basinger takes her shuddery Stanwyckness very seriously, but everyone else has a ball.
    • 53 Metascore
    • 60 Michael Atkinson
    Squint through the humbug, and there's some genuine life going on.

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