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 Apocalypse Now Redux
Lowest review score: 0 Lara Croft Tomb Raider: The Cradle of Life
Score distribution:
862 movie reviews
    • 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.
    • 73 Metascore
    • 60 Michael Atkinson
    Hardly the trippy icon the doc’s title suggests, the artist is now more like everyone’s slightly seedy hedonistic granduncle, happiest sketching cartoon pigs and walking the moors of County Cork.
    • 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.
    • 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.
    • 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.
    • 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

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