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
Lowest review score: 0 Crush
Score distribution:
860 movie reviews
    • 73 Metascore
    • 50 Michael Atkinson
    All of the filmmaker's fine work and good intentions cannot make this repetitive and finally tiresome saga fly.
    • Mr. Showbiz
    • 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.
    • 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.
    • 47 Metascore
    • 50 Michael Atkinson
    As homey as old sweats.
    • 49 Metascore
    • 50 Michael Atkinson
    Green Dragon's portrait of refugee angst is decidedly glossy; the grief and lostness are glimpsed rather than explored.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Michael Atkinson
    First and foremost a trial run for a Universal Studios ride.
    • 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.
    • 75 Metascore
    • 50 Michael Atkinson
    Metropolis is "A.I." without tears.
    • 63 Metascore
    • 50 Michael Atkinson
    Quindlen's book is wry and deeply sad in its prose, but watching actors run this very simple maze is significantly less entertaining, or convincing.
    • 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.
    • 68 Metascore
    • 50 Michael Atkinson
    In its details, though, Juan José Campanella's movie works beautifully: The actors are all superb when the florid demands of the story allow them elbowroom.
    • 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.
    • 65 Metascore
    • 50 Michael Atkinson
    Just another basketcase with a blade.
    • 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."
    • 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.
    • 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.
    • 33 Metascore
    • 50 Michael Atkinson
    The characters talk like smart, unpredictable people, and Kelly Ernswiler is one of a kind.
    • 55 Metascore
    • 50 Michael Atkinson
    A pre-programmed mediocrity, a slave to its clichés.
    • 80 Metascore
    • 50 Michael Atkinson
    Visconti's film remains a Euro-culture touchstone, though not nearly as convincing or visually stunning as its reputation insists.
    • 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.)
    • 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.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 50 Michael Atkinson
    As obvious in many ways as its title (and its poster), Mean Creek retains a gritty working-class ambience, but it feels over-rehearsed.
    • 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.
    • 62 Metascore
    • 50 Michael Atkinson
    The film slowly sheds its convincing identity as nonfiction and becomes a cruel parody of making-of docs, studio-movie pandering, and showbiz egomania.
    • 62 Metascore
    • 50 Michael Atkinson
    Authentic ethical dialogue is conspicuous for its absence, as is the potentially disturbing view of a normal, working-class corner of American society going not-so-quietly cuckoo.

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