Michael Atkinson

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For 863 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 Warm Water Under a Red Bridge
Lowest review score: 0 Crush
Score distribution:
863 movie reviews
    • 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
    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
    • 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
    • 40 Metascore
    • 60 Michael Atkinson
    Repetitive, aimless, and as frustrating as you'd imagine any two-hour music video to be.
    • Mr. Showbiz
    • 74 Metascore
    • 60 Michael Atkinson
    Plays like "The Honeymooners" might have if Ralph Kramden were from Pakistan, but with less laughs and more ignorant spite.
    • 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
    • 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.
    • 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.
    • 49 Metascore
    • 60 Michael Atkinson
    Though bourgie audiences looking for a sun-warmed romance will be slapped; the movie may look pretty and may plod, but it also leaves a bruise.
    • 74 Metascore
    • 60 Michael Atkinson
    Produced by veteran Chicago doc outfit Kartemquin (and correspondingly bullshit-free), Siegel’s archive-and-talking-heads narrative revels in forgotten details—like Ali, during his suspension from boxing, appearing in an Off Broadway musical about slavery, the taped footage from which is eye-popping.
    • 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.
    • 21 Metascore
    • 59 Michael Atkinson
    A pleasant and surprisingly polished fish-out-of-water comedy.
    • Mr. Showbiz
    • 74 Metascore
    • 59 Michael Atkinson
    Shower isn't a bad movie -- just a baneful sign of things to come.
    • 42 Metascore
    • 59 Michael Atkinson
    Just isn't funny enough to sustain the lunacy.
    • Mr. Showbiz
    • 55 Metascore
    • 59 Michael Atkinson
    The first 15 minutes of Nowhere to Hide rock, and after that it's got nowhere to hide from its own excesses.
    • 59 Metascore
    • 58 Michael Atkinson
    The movie is a shambles, a rambling, disjointed love tragedy with a story that amounts to little more than a mess of fade-outs, sloppy montages, and dramatic sketches.
    • 70 Metascore
    • 58 Michael Atkinson
    A cute, clichéd, coming-of-age comedy.
    • Mr. Showbiz
    • 43 Metascore
    • 58 Michael Atkinson
    For many, the enticement of seeing two old pros smartly step through their pressurized pas de deux might be reason enough to buy a ticket.
    • 71 Metascore
    • 58 Michael Atkinson
    As a portrait of a man barely qualifying for a cinematic portrait, Benjamin Smoke is a trifle, but when Sillen and Cohen turn their cameras on the weedy, workaday, hellhole America that Benjamin calls home, the movie comes alive.
    • Mr. Showbiz
    • 75 Metascore
    • 57 Michael Atkinson
    Aviva Kempner's utterly conventional documentary plays like a lost chapter from Ken Burns' "Baseball."
    • 58 Metascore
    • 56 Michael Atkinson
    Feels repetitive and impacted.
    • 53 Metascore
    • 56 Michael Atkinson
    A pale imitation of the original Winnie the Pooh Disney shorts of the '60s, but a vast improvement on the current Pooh TV series and straight-to-tape specials.
    • 44 Metascore
    • 55 Michael Atkinson
    The film has a standard trajectory, but the details are unpredictable: Kitano fluctuates between goofy pratfalls. . . and elliptical pathos.
    • 59 Metascore
    • 55 Michael Atkinson
    It's a polished, beautifully made movie with a rotten heart.
    • Mr. Showbiz
    • 23 Metascore
    • 54 Michael Atkinson
    If you're expecting an experience approximately as dumb, badly acted, and childish as a pro wrestling match, you'll be pleasantly surprised.
    • 49 Metascore
    • 53 Michael Atkinson
    Showing the sex seems to be the film's raison d'etre, which gets you only so far.
    • 57 Metascore
    • 53 Michael Atkinson
    Might be structured like a soggy house of cards, but it's shot beautifully and acted expertly.
    • 74 Metascore
    • 52 Michael Atkinson
    As fascinating as the case is as history, however, Scottsboro: An American Tragedy is a TV show, not a movie.
    • 67 Metascore
    • 52 Michael Atkinson
    Likable, but frustratingly lazy, Ghost Dog has coolness running all through it, but little substance.
    • Mr. Showbiz

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