Michael Atkinson
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For 860 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 6.4 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Taxi Driver (re-release)
Lowest review score: 0 Bewitched
Score distribution:
860 movie reviews
    • 31 Metascore
    • 50 Michael Atkinson
    Amid the cliché and foreshadowing, Cage manages a degree of casual realism.
    • 33 Metascore
    • 50 Michael Atkinson
    The characters talk like smart, unpredictable people, and Kelly Ernswiler is one of a kind.
    • 51 Metascore
    • 50 Michael Atkinson
    Dramatically lopsided, Assassination Tango is a spontaneous life-slice in which John J. (standing in for Duvall) fumbles like a besotted granddad toward empathic connections. That it doesn't "work" is a measure of its sincerity.
    • 75 Metascore
    • 50 Michael Atkinson
    Metropolis is "A.I." without tears.
    • 46 Metascore
    • 50 Michael Atkinson
    Funahashi's visual mood-making is an object lesson in how to create a sense of intimate anomie with next to nothing.
    • 51 Metascore
    • 50 Michael Atkinson
    Suggest a Clintons-at-home scenario for 2001 -- haunted by the ghosts of dalliances past.
    • 50 Metascore
    • 50 Michael Atkinson
    Clubfooted but earnest, Pandya's movie never forgets about its second-gen issues, but never quite plumbs them, either.
    • 51 Metascore
    • 50 Michael Atkinson
    Rarely funny and straining to reach feature length, The American Astronaut achieves sweetness via its straight-faced take on utter gobbledygook.
    • 40 Metascore
    • 50 Michael Atkinson
    If I were 13, I might be sufficiently entranced by the movie's bicycle stunts (down stairs! across countertops!) and wouldn't be wondering why ideas for science fiction films haven't progressed very far from "Star Trek's" first seasons all those decades ago.
    • 57 Metascore
    • 50 Michael Atkinson
    Musters gobs of atmosphere and touristy menace without attending much to story or character.
    • 49 Metascore
    • 50 Michael Atkinson
    The techies still can't manage to make two characters look convincingly into each other's eyes -- it's like watching Disney World animatronic figures do soap opera.
    • 48 Metascore
    • 50 Michael Atkinson
    Hardly the idiosyncratic Mickey Finn you'd expect from the men behind 1998's underrated "Zero Effect" and 2000's discomfort-splooge "Chuck & Buck."
    • 57 Metascore
    • 50 Michael Atkinson
    However misjudged and evidently cobbled together in the editing room, Dark Blue does have the nerve to drive right through the riots with Russell's saber-toothed bigot, implicitly linking the two phenomena and not being shy about the suffering on either side of the combat.
    • 92 Metascore
    • 50 Michael Atkinson
    It's too bad that the film is sporadically crude (a moment of suicidal angst is illustrated with a shove-zoom to the pavement), prone to mega-Italian extroversion, and far too in love with stupid pet tricks.
    • 68 Metascore
    • 50 Michael Atkinson
    Zesty in a workmanlike sort of way, providing supporting henchmen Jason Statham and Mos Def with pleasingly unsensational characters given to subtle twitches of idiosyncrasy.
    • 27 Metascore
    • 50 Michael Atkinson
    If the movie works on its own insipid level, it's because of high-gear star power -- 50 times the captivator Dennis ever was, Theron is terrific at creating adorable intimacy with little help from the script or director and exudes more guileless élan than any of the film's many puppies.
    • 48 Metascore
    • 50 Michael Atkinson
    First and foremost a trial run for a Universal Studios ride.
    • 64 Metascore
    • 50 Michael Atkinson
    Complain all you want about Willis's posturing and the rabbit-in-the-hat ending (predicated as it is on a vast plothole), the film is still a rarity, a studio horror movie focused on a child's traumatic stress.
    • 54 Metascore
    • 50 Michael Atkinson
    Nolte's exploding patriarch jacks up the story's antisocial wish fulfillment into a Nietzschean-anarchist's wet dream, but one can only vainly hope that the preordained sequel will head in that dastardly direction.
    • 45 Metascore
    • 50 Michael Atkinson
    For better or worse, Vanilla Sky is a genuine, albeit jejune, statement of star consciousness -- blustery with self-awe and feverish with cataclysmic self-doubt.
    • 71 Metascore
    • 50 Michael Atkinson
    Today, the movie doesn't portend Altman's subsequent tailspin into irrelevance as much as it suggests a restlessness with the comic realism he had mastered.
    • 79 Metascore
    • 50 Michael Atkinson
    Like the film, Pai's character is muddily conceived and ill-focused, but the coltish, tremulously delicate Castle-Hughes is a hypnotic camera subject.
    • 61 Metascore
    • 50 Michael Atkinson
    Not nearly enough time is spent in court--that is, on the movie's ostensible subject. (Besides, the down-to-the-wire deliberation scene is risibly unconvincing and abbreviated.)
    • 55 Metascore
    • 50 Michael Atkinson
    When he isn't overreaching for absurdity, Curtis can write bouncy patter, but each character gets about 60 seconds before the movie jumps deck to the next love-seeker and the next moony pratfall.
    • 55 Metascore
    • 50 Michael Atkinson
    However bogged down by predictable story rhythms, banally assembled shoot-outs, and climactic mano a mano, The Missing has an acidic period tone, a respect for the reality of violence, and a refreshing dearth of superhuman heroics and easy triumph. For that much, we should be grateful.
    • 66 Metascore
    • 50 Michael Atkinson
    Still, the vapor traces of farce and policier that waft from this terribly earnest film never coalesce -- perhaps our own cultural remove allows what plays straight at home to be experienced as slightly daffy.
    • 45 Metascore
    • 50 Michael Atkinson
    Ends up second-guessing its own high-minded strivings, not trustful enough of its audience to be sophisticated about history and ethics, and not pulpy enough to keep us awake.
    • 73 Metascore
    • 50 Michael Atkinson
    Not a farce, or comedy or drama, but essentially a doodle interrupted by nouveau ballet performances, the entire contraption assembled to please the ego of Neve Campbell.
    • 60 Metascore
    • 50 Michael Atkinson
    David Mamet takes on the digi-tech, hard-Clancy-core intel thriller most often inflated by Tony Scott and like-minded plodders, and typically he elevates it, botches it, and exploits it for searing political comment.
    • 56 Metascore
    • 50 Michael Atkinson
    Hardly gay camp for nothing, sword-and-sandal epics cannot help but teeter on the brink of self-mockery, and Troy, for all its grim seriousness, embraces both the clichés and the beefcake.

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