Michael Atkinson

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For 878 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 7.9 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Time of the Wolf
Lowest review score: 0 Pokémon: The First Movie - Mewtwo Strikes Back!
Score distribution:
878 movie reviews
    • 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.
    • 73 Metascore
    • 50 Michael Atkinson
    Ray
    Hackford's movie falls into a meandering saunter. As the music grows dull, so does the movie.
    • 68 Metascore
    • 50 Michael Atkinson
    Exploring a specific generational moment in mid-century Italy's social weft, Amelio's family saga might be his grimmest film, if only for the tragic exploitation of fraternity.
    • 62 Metascore
    • 50 Michael Atkinson
    Gaby Dellal's cynically mushy film, like "The Full Monty" and its ilk, is best savored only by its target demo: middle-classers who see one imported film a year, the selection in question requiring working-stiff melodrama and leprechaun burrs gently and lovably mangling the English dialogue.
    • 64 Metascore
    • 50 Michael Atkinson
    If the title, knee-jerk cast, pop-song intro, and schmaltzy plotline of his new film Changing Times is any indication, he's (André Téchiné) now the French mainstream, the premier Gallic pilot of high-toned soap opera.
    • 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.
    • 62 Metascore
    • 50 Michael Atkinson
    Left with barely any there there, Morley compensates with long reenactments starring look-alike Zawe Ashton that are never quite convincing but instead suck more air out of the haunting vacuum left behind in Vincent's wake.
    • 51 Metascore
    • 50 Michael Atkinson
    Suggest a Clintons-at-home scenario for 2001 -- haunted by the ghosts of dalliances past.
    • 43 Metascore
    • 50 Michael Atkinson
    Artless but seductive.
    • 51 Metascore
    • 50 Michael Atkinson
    Even though Gray is no raw-boned rookie-he has made TV movies for decades, plus, back in the day, a single Steven Seagal floater-his movie is rather inexcusably obvious, going for "troot," but recycling dese-dose-dem clichés already pressed into plastic lumber 25 years ago.
    • 77 Metascore
    • 50 Michael Atkinson
    The Aviator could've been a "Raging Bull" brother film, given that masterpiece's crystalline purity of purpose and humiliated courage. But it brakes far short.
    • 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.
    • 63 Metascore
    • 50 Michael Atkinson
    It's a small movie trying to seem epic, or a bloated monster trying to seem lean (real B movies don't have 14 producers), but it's clear that at 99 minutes, 16 Blocks should've been at least 20 minutes shorter still.
    • 63 Metascore
    • 50 Michael Atkinson
    If this silly retread works at all, it's because of Coogan, who comes at the creaky premise with almost Streepian commitment and who is destined, it would seem, for better things.
    • 60 Metascore
    • 50 Michael Atkinson
    For all of its careful realism, Lan Yu is constructed around clichés, plummeting toward a modestly heroic sacrifice and a tearjerking act of fate. But Kwan is a master of shadow, quietude, and room noise, and Lan Yu is a disarmingly lived-in movie.
    • 74 Metascore
    • 50 Michael Atkinson
    Shot in silvery black-and-white, Duck Season is not charmless, just insubstantial.
    • 63 Metascore
    • 50 Michael Atkinson
    The film makes no more or less sense than Ridley Scott's Legend or Jim Henson's Labyrinth, and in fact has a creaky, blue-gel '80s-ness to it, but for many, keeping up with Miike's cranked output is an end in itself.
    • 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.

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