For 633 reviews, this critic has graded:
  • 25% higher than the average critic
  • 3% same as the average critic
  • 72% lower than the average critic
On average, this critic grades 7.3 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
Average review score: 52
Lowest review score: 0 The Cat in the Hat
Score distribution:
633 movie reviews
    • 54 Metascore
    • 40 Michael Atkinson
    One of those hellishly predictable digital-monster gauntlets that makes you pity the actors.
    • 52 Metascore
    • 40 Michael Atkinson
    Zucker's frenzied trifle is painless, with a few decent running gags -- and an ocean of bad ones.
    • 39 Metascore
    • 40 Michael Atkinson
    The movie's single brilliant invention -- Julianne Moore as a used, contentious, profoundly odd floozy on her own magical mystery tour.
    • 65 Metascore
    • 40 Michael Atkinson
    An adept mood maker, Medem strains madly for cosmic alliances, fairy-tale imagery, and fated coincidences, but he triumphs only with two hot bodies, a cluttered apartment, and a Shower Massage.
    • 80 Metascore
    • 40 Michael Atkinson
    Has a customarily jovial air but a deficit of flim-flam inventiveness.
    • 68 Metascore
    • 40 Michael Atkinson
    His movie (Jordan's) winnows the original's existentialist fable into a busy caper thriller, copping plot devices from Soderbergh's "Ocean's 11" and even straining to Wong Kar-wai its camera's way around the fleshpots of Nice. It's all pizzazz, and the pizzazz is all borrowed.
    • 49 Metascore
    • 40 Michael Atkinson
    Obsessives can be seductive, and Toback is interesting for the same reasons his films are often unendurable: He's not an artist so much as a giant pop-cult testicle pumping absurd energy in a rampaging, self-justifying gout.
    • 84 Metascore
    • 40 Michael Atkinson
    Desperately avoiding the risk of even a half-second of boredom, the movie is wall-to-window-to-door noise, babbling, and jokes.
    • 77 Metascore
    • 40 Michael Atkinson
    An air-conditioned bus tour of Punjabi ritual. Nair stuffs the film with dancing, henna, ornamentation, and group song, but her narrative clichés and telegraphed episodes smell of old soap opera.
    • 56 Metascore
    • 40 Michael Atkinson
    Cliché-density aside, Roger Donaldson's perfectly rote movie is childishly naive about the reality of the CIA as it stands in the official record and in the public mindset.
    • 73 Metascore
    • 40 Michael Atkinson
    The upshot is a general fog of two-dimensional characterization, slowly churning plot gearwork, and an ineffective air of forced lyricism.
    • 42 Metascore
    • 40 Michael Atkinson
    It's an easier movie to tolerate than it should be if, like me, you're in love with Téa Leoni, who, as a lithe, lusty, strangely patient firecracker Superwife in a shag, rescues the movie from the tar pit of irrelevance. With some decent lines, she could be the new Myrna Loy.
    • 41 Metascore
    • 40 Michael Atkinson
    Sandler is less goofy than spitefully self-absorbed, and most of the comedy feels like child abuse.
    • 48 Metascore
    • 40 Michael Atkinson
    Bumrushed onto American screens like late-breaking news, the Japanese TV doc Power and Terror: Noam Chomsky in Our Times is a relatively thin slice of Chomskiana -- a chapter from any of the man's many interview volumes, or even an hour of his C-SPAN dialogues, has more political substance.
    • 30 Metascore
    • 40 Michael Atkinson
    The gooseberry Harlin came up with will win no proselytizers, but it does have a pleasant matinee modesty, a cool sepia-period look, and an interesting flashback relationship with Nazis.
    • 32 Metascore
    • 40 Michael Atkinson
    Only Giovanni Ribisi, with a back-of-the-bus speech about the betrayals of insurgent and counter-insurgent politics, finds a genuine moment. All the same, for some unfathomable reason, Dylan's autumnal self-salute is not particularly difficult to watch.
    • 37 Metascore
    • 40 Michael Atkinson
    In the end, Ted Bundy's only justification is the director's common but unexplored fascination with the frustrated maniac; there's no larger point, and little social context. "Badlands" this ain't.
    • 41 Metascore
    • 40 Michael Atkinson
    Eccentric enough to stave off doldrums, Caruso's self-conscious debut is also eminently forgettable.
    • 48 Metascore
    • 40 Michael Atkinson
    A big, stupid bull with bodacious tits, but that's not to say it doesn't dish out some lite hardy-hars.
    • 61 Metascore
    • 40 Michael Atkinson
    Wang mistakes affectless storytelling and character conception for rigor, and as a result huge portions of Beijing Bicycle are dull and repetitive.
    • 43 Metascore
    • 40 Michael Atkinson
    Jonesing for headlines and gossip-buzz, Wonderland is too look-Ma for its own good -- the simple story of a doomed hop-hog over his head in bad shit could've hit the nerve if left to tell itself.
    • 60 Metascore
    • 40 Michael Atkinson
    Has only its stylized designs to recommend it.
    • 47 Metascore
    • 40 Michael Atkinson
    Sayles, it seems, doesn't think much of his audience, and the tone of his discourse is only nominally less pandering than a politician's.
    • 46 Metascore
    • 40 Michael Atkinson
    There's precious few yucks, for one thing, but you can't say you're surprised that the astonishingly humorless Lyne hadn't noticed or cared that the Nabokov original is a droll comedy of errors first and a self-pitying romantic tragedy second.
    • 46 Metascore
    • 40 Michael Atkinson
    That the Cold War was a wasteful charade proves Bitomsky's point amply enough, but his movie is a repetitive bore.
    • 54 Metascore
    • 40 Michael Atkinson
    All in all, Hijacking is less a movie than a litany of arguments intended as, or at least only useful as, a brickbat in the discourse, aimed at your neighbor's Republican noggin.
    • 45 Metascore
    • 40 Michael Atkinson
    The movie is a sloppy amalgamation of animated instruction, dramatic vignettes (starring actualization-starved single gal Marlee Matlin), and talking-heads interviews.
    • tbd Metascore
    • 40 Michael Atkinson
    As his story emerges-rape, assault, manslaughter, prison, and torrential self- destruction-it becomes clear that Pacheco is some kind of sociopath, and the movie evolves into a monstrous portrait of economic annihilation on the outskirts of the global village.
    • 36 Metascore
    • 40 Michael Atkinson
    Leopold's movie is superbly shot and restrained, but not economical; the brooding and introversions profitlessly pad out what might've been a leveling featurette.
    • 44 Metascore
    • 40 Michael Atkinson
    Arguably the most dysfunctional culture of the past few centuries, North Korea is a cosmically mad movie waiting to happen. But for now, Heikin's is merely insubstantial.