Michael Atkinson

Select another critic »
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
    • 71 Metascore
    • 50 Michael Atkinson
    It's a TV show and a facile one at that.
    • 49 Metascore
    • 50 Michael Atkinson
    It might be worth enduring the Limburger to see Fraser morph from freckled-faced Rod McKuen dweeb to seven-foot albino ball star and never miss a beat.
    • 69 Metascore
    • 50 Michael Atkinson
    Wastes a ton of potent material.
    • 57 Metascore
    • 50 Michael Atkinson
    Though rife with incidental plot holes, Foote's movie feels right even when nothing important is happening...which is much of the time.
    • 46 Metascore
    • 50 Michael Atkinson
    An entrancing glimpse of true underground Americana.
    • 76 Metascore
    • 50 Michael Atkinson
    Though Maclean uses every trick available to make up for the missing inner voice, we never get into Crudup's mellow loser like we should. Maclean's got an incisive eye, but it's poised on the outside of the terrarium looking in.
    • 58 Metascore
    • 50 Michael Atkinson
    Kid-pulp screenwriter Goyer (Dark City, Blade I and II) manages some mature textures but his movie never surmounts its manipulative ideas.
    • 52 Metascore
    • 50 Michael Atkinson
    While the line-readings are often dead-on, Fishburne's movie suffers from the usual one-room claustrophobia and Mametian repetitions.
    • 49 Metascore
    • 50 Michael Atkinson
    Green Dragon's portrait of refugee angst is decidedly glossy; the grief and lostness are glimpsed rather than explored.
    • 47 Metascore
    • 50 Michael Atkinson
    As homey as old sweats.
    • 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.
    • 60 Metascore
    • 50 Michael Atkinson
    Pretension looms, and for many the web of symbolism will be too thick. But Rampling, to her credit, helps hold the nuthouse together.
    • 43 Metascore
    • 50 Michael Atkinson
    Artless but seductive.
    • 74 Metascore
    • 50 Michael Atkinson
    A Matter of Taste's largest handicap is restraint: It's too tasteful. The climactic crisis is a broken leg, and the off-screen denouement is unimaginative.
    • 71 Metascore
    • 50 Michael Atkinson
    It's tempting to read Abu-Assad's view of his ostentatiously wealthy heroine and her debutante narcissism as satirical of a certain cross-section of modernized Palestinians amid the occupation, but the placid, earnest way her dilemma takes up emotional space in his film suggests half-bakery.
    • 78 Metascore
    • 50 Michael Atkinson
    But Monsters, Inc. -- directed by Pixar soldier Pete Docter, not by master digital comic John Lasseter -- turns out to be stingy on context, commentary, and the prism-ing view of pop culture that made the earlier films mint.
    • 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.

Top Trailers