For 638 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 7.2 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
Average review score: 52
Highest review score: 100 A Mighty Wind
Lowest review score: 0 Strippers
Score distribution:
638 movie reviews
    • 56 Metascore
    • 30 Michael Atkinson
    Allegiance to Chekhov, which director Michael Cacoyannis displays with somber earnestness in the new adaptation of The Cherry Orchard, is a particularly vexing handicap.
    • 35 Metascore
    • 30 Michael Atkinson
    The notion of grievingly happening upon your dead beloved, young and lovely again, is simple and potent, but the film's airless amateurism, belabored ethnicism ("Oy gevalt!"), and trite dialogue kill it in the water.
    • 55 Metascore
    • 30 Michael Atkinson
    Every other line is a coy Oirishism, and Brosnan, despite being Irish, isn't any more convincing than twinkly-eyed barmaid Julianna Margulies.
    • 59 Metascore
    • 30 Michael Atkinson
    Agazzi's movie rather provincially hints at sexiness, humor, and satire without actually manifesting them.
    • 38 Metascore
    • 30 Michael Atkinson
    Tries to show the oh-so-human side of Gospel-hawking, His Word, the Path, and so on.
    • 51 Metascore
    • 30 Michael Atkinson
    Gardos, an experienced film editor, has little narrative sense, and decent performances (except from Kinski, who just worries and huffs around) are left out to dry.
    • 79 Metascore
    • 30 Michael Atkinson
    Remains simplistic and gimmicky in the context of Iranian cinema.
    • 55 Metascore
    • 30 Michael Atkinson
    Soft-boiled blarney so sluttish with Hollywood clichés it could've been made in Burbank.
    • tbd Metascore
    • 30 Michael Atkinson
    Smartly written, unevenly executed.
    • 41 Metascore
    • 30 Michael Atkinson
    A decked-out mediocrity with a high-octane cast.
    • 21 Metascore
    • 30 Michael Atkinson
    Indiana Jones has never been so missed, but instead this shaggy God story hones in on the faith dilemmas of Banderas and a sputtering Derek Jacobi, so Sunday-hammy you want to rivet him with cloves.
    • 56 Metascore
    • 30 Michael Atkinson
    Beautifully shot and littered with disquieting character business, the film is hog-tied by its own bad Big Idea.
    • 49 Metascore
    • 30 Michael Atkinson
    Brown's saga, like many before his, makes for snappy prose but a stumblebum of a movie.
    • 61 Metascore
    • 30 Michael Atkinson
    The story is little more than overdetermined trials and triumphs. Kids won't care, but they won't fall for it either; unsurprisingly, it doesn't stand a chance of providing them with the memories the book provided their parents.
    • 55 Metascore
    • 30 Michael Atkinson
    The entire matter of totemistic home-team dementia is roasted on a spit and then embraced for all its sorry pointlessness.
    • 64 Metascore
    • 30 Michael Atkinson
    Throughout, Tykwer reaches for mysteries he has no idea how to evoke, relying instead on his actors' empty stares.
    • 78 Metascore
    • 30 Michael Atkinson
    The carload of codgers in Fred Schepisi's Last Orders merely bellyache, philosophize, crack unfunny jokes, and ruminate simplemindedly about Death.
    • 40 Metascore
    • 30 Michael Atkinson
    Essentially a reheating of 1982's "First Blood" -- a psychologically wounded warrior-vet pits himself against civilized America -- but the fallout this time is simultaneously more ruthless, less emotional, and duller.
    • 57 Metascore
    • 30 Michael Atkinson
    Not only is the dialogue endless...it's like driving behind a 15 mph geezer on a one-way street.
    • 32 Metascore
    • 30 Michael Atkinson
    Director Vicente Amorim's dramatic instincts evoke after-school specials (most of the drama entails the clan's brooding teenager chomping at the parental bit), and his visual ideas are restricted to aping "City of God's" fish-eye ambience and hectic editing.
    • 34 Metascore
    • 30 Michael Atkinson
    15 Minutes settles into Richard Donner-style goulash.
    • 66 Metascore
    • 30 Michael Atkinson
    It's not easy to endure, despite -- or due to the embarrassment of -- an all-star cast.
    • 50 Metascore
    • 30 Michael Atkinson
    It's a campy, juiced-up ker-splat, busy with clumsy pyrotechnics and never nearing the vicinity of satire.
    • 28 Metascore
    • 30 Michael Atkinson
    Despite exposition delivered so redundantly and witlessly you think you're in a Kaplan class, Stigmata manages to be incoherent.
    • 74 Metascore
    • 30 Michael Atkinson
    The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
    • 33 Metascore
    • 30 Michael Atkinson
    85 percent explosions and editing idiocy (a window can't break without director Peter Hyams cutting between five different angles) and 15 percent Arnold trying to grow a third dimension. Seeing him try for "sad" is like watching a dog try to talk.
    • 36 Metascore
    • 30 Michael Atkinson
    Hardly a project worthy of grown men and women.
    • 45 Metascore
    • 30 Michael Atkinson
    So feel-sniffly-good it could make you revisit lunch.
    • 48 Metascore
    • 30 Michael Atkinson
    xXx
    Diesel himself has the personality of a golem and a knack for dialogue delivery that suggests recent oral surgery.
    • 34 Metascore
    • 30 Michael Atkinson
    Scene-by-scene, things happen, but you'd be hard-pressed to say what or why; occasionally, a poetic moment leaps out of the soup.