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

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 A Mighty Wind
Lowest review score: 0 Lara Croft Tomb Raider: The Cradle of Life
Score distribution:
862 movie reviews
    • 75 Metascore
    • 60 Michael Atkinson
    The movie is so brisk, even-handed, and realpolitik you're never quite sure if it has anything to say.
    • 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.
    • 68 Metascore
    • 60 Michael Atkinson
    A pleasant old man's movie, in the end, but not one for which Boorman will be remembered.
    • 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.
    • 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.
    • 56 Metascore
    • 60 Michael Atkinson
    A film the family might've made themselves: sophomoric, hagiographic, amateurishly strobe-happy, and thoroughly hippiefied.
    • 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
    We're accustomed to an omniscient understanding of what movie characters, particularly in dramas about love and loss, are thinking, but Hong distributes information with a saline drip. Often, of course, his two lonely fools don't quite know what they're thinking, either--Woman can sometimes come off like an introverted "Carnal Knowledge" with two Jack Nicholsons.
    • 45 Metascore
    • 60 Michael Atkinson
    De rigueur hypocritical as it may be coming from Hollywood, Click is a cultural critique, with the dull blade and impact of a battle-ax... But it's a farce about loss, and it doesn't flinch.
    • 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.
    • 53 Metascore
    • 60 Michael Atkinson
    She (Rossellini) is radiant in a profoundly ordinary and believable way, as always, and stirs up generational pathos all by herself.
    • 21 Metascore
    • 59 Michael Atkinson
    A pleasant and surprisingly polished fish-out-of-water comedy.
    • Mr. Showbiz
    • 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.
    • 74 Metascore
    • 59 Michael Atkinson
    Shower isn't a bad movie -- just a baneful sign of things to come.
    • 70 Metascore
    • 58 Michael Atkinson
    A cute, clichéd, coming-of-age comedy.
    • Mr. Showbiz
    • 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.
    • 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
    • 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.
    • 75 Metascore
    • 57 Michael Atkinson
    Aviva Kempner's utterly conventional documentary plays like a lost chapter from Ken Burns' "Baseball."
    • 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.
    • 58 Metascore
    • 56 Michael Atkinson
    Feels repetitive and impacted.
    • 59 Metascore
    • 55 Michael Atkinson
    It's a polished, beautifully made movie with a rotten heart.
    • Mr. Showbiz
    • 44 Metascore
    • 55 Michael Atkinson
    The film has a standard trajectory, but the details are unpredictable: Kitano fluctuates between goofy pratfalls. . . and elliptical pathos.
    • 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.
    • 57 Metascore
    • 53 Michael Atkinson
    Might be structured like a soggy house of cards, but it's shot beautifully and acted expertly.
    • 49 Metascore
    • 53 Michael Atkinson
    Showing the sex seems to be the film's raison d'etre, which gets you only so far.
    • 67 Metascore
    • 52 Michael Atkinson
    Likable, but frustratingly lazy, Ghost Dog has coolness running all through it, but little substance.
    • Mr. Showbiz
    • 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.
    • 50 Metascore
    • 50 Michael Atkinson
    Clubfooted but earnest, Pandya's movie never forgets about its second-gen issues, but never quite plumbs them, either.

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