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
Lowest review score: 0 Strippers
Score distribution:
638 movie reviews
    • 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.
    • 42 Metascore
    • 30 Michael Atkinson
    The film exists in a humid meta-movie ether all its own.
    • 18 Metascore
    • 30 Michael Atkinson
    Gigli berates, insults, dismisses, throttles, and bellows at Bartha's meticulously aped retard, and then turns sensitive and warm—it's hard to decide which attitude is more insulting.
    • 38 Metascore
    • 30 Michael Atkinson
    An overproduced, video-director remake, slick and grue-marinated and loud as a sonic boom.
    • 62 Metascore
    • 30 Michael Atkinson
    Ivey hits the turf pitching and catching dialogue like a pro, but nothing could have saved What Alice Found from a fundamental cinematic illiteracy.
    • 66 Metascore
    • 30 Michael Atkinson
    Something does have to give, and that's the nine-figure public patronage of this kind of anemic, wit-free entertainment. Meyers's shakin' moneymaker isn't the worst film of 2003 -- no cat suits, for one thing -- but something scarier: a standard-issue bog of glossy idiocy and audience disrespect.
    • 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.
    • 62 Metascore
    • 30 Michael Atkinson
    An overwhelming portion of Saved! is wall-to-wall Jesus-Jesus-Jesus talk, closer to dead air than social spoof. At times, the screenplay (including Mary's voluminous narration) has the monotonous cadence of a recruitment sermon.
    • 59 Metascore
    • 30 Michael Atkinson
    If you see it, the sequel will be your fault.
    • 44 Metascore
    • 30 Michael Atkinson
    The screwiest yarn yet from Shyamalan's metaphysical-Limburger career project, a non-horror horror film.
    • 42 Metascore
    • 30 Michael Atkinson
    The even faintly informed will see only a cut-rate vision of flabby white men defending their own bloodthirsty opportunism.
    • 39 Metascore
    • 30 Michael Atkinson
    Although inexplicable brogues and burrs appear and disappear, and although Stone post-produces the dickens of his movie trying to generate the maximum spit-fog of sound and fury, Alexander manages to be as dull as the Victor Mature films of the 1950s, which barely moved at all.
    • 63 Metascore
    • 30 Michael Atkinson
    Schmaltz served in a hand-painted cup, Happy Times culminates in a Chekhovian complement of two narrated letters that have a mutually corresponding force the rest of the film only hints at. By then, our hopes have fatally diminished.
    • 38 Metascore
    • 30 Michael Atkinson
    Tries to show the oh-so-human side of Gospel-hawking, His Word, the Path, and so on.
    • 53 Metascore
    • 30 Michael Atkinson
    Eisenstadt has nowhere to go with her catalogue of relaxed urban crazies, and at 79 minutes, the movie is padded out by four song interludes too many.
    • 34 Metascore
    • 30 Michael Atkinson
    Watching it is a smidgen like listening to the same monkey-walks-into-a-bar joke for the 105th time, but for the Spierig brothers, it is clearly a demonstration of fast-cheap capabilities and a one-way ticket straight out of Queensland.
    • 64 Metascore
    • 30 Michael Atkinson
    Amy Goodman's narration, though correct, has a petulant, Spanish Inquisition ring to it, only made more childish by the film's cheap idealization of the senator from South Dakota as some kind of pacifist Savonarola, overdue for canonization.
    • 39 Metascore
    • 30 Michael Atkinson
    Despite this ripe framework and the talent on deck, ILYW is not a satire...Rather, it becomes a cold-serious, dead-air brood about how tough, lonely, and desolate it is being a celebrity.
    • 50 Metascore
    • 30 Michael Atkinson
    This all-digital indie is, by genre standards, either a misfired doodle or an attempt to Lovecraft-ize the popular movement. Or both.
    • tbd Metascore
    • 30 Michael Atkinson
    The dead-end social points Gonick is making are so blunt they're hardly points at all anymore, but the galleon anchor that's weighing down this well-intentioned homey is the amateur acting.
    • 47 Metascore
    • 30 Michael Atkinson
    Garcia's tale bemoans the loss of easy wealth for a precious few. Poor people are absolutely absent; Garcia and Infante seem to have thought that peasant revolutions happen for no particular reason--or at least no reason the moneyed 1 percent should have to worry about.
    • 50 Metascore
    • 30 Michael Atkinson
    An utterly empty-skulled genre mechanism and nothing more.
    • 49 Metascore
    • 30 Michael Atkinson
    If you're considering the scenario via Japan's ubiquitous pedo-porn tendencies, you're too educated for this exhaustive, manga-based bloodbath, which trails after these angsty teenyboppers on a scorched-fake-earth path through hundreds of growling baddies of every genre size and type.
    • 52 Metascore
    • 30 Michael Atkinson
    The movie hardly has enough beef on its bones to make a meal. The very notion that movies about torture are considered "horror," and are more profitable now per foot of celluloid than any other type of independent film, is what's qualmy.
    • 29 Metascore
    • 30 Michael Atkinson
    13
    Lumbers, stumbles, and blows all its secrets at the outset.
    • 46 Metascore
    • 30 Michael Atkinson
    The migraine of a story arc needed sharp comedy reflexes or, at least, a live-wire/slummy star turn and got neither.
    • 38 Metascore
    • 30 Michael Atkinson
    Dorff's mannered Bruce Willis affect seems as insincere as the script, which helplessly loses credibility as info accrues and the narrative unpeels.
    • 63 Metascore
    • 30 Michael Atkinson
    Unoriginal and mired in bad jokes.
    • 67 Metascore
    • 30 Michael Atkinson
    Less Bollywood than Generic Asian Family Drama Lite, when it's not a flat-out sunset-choked infomercial for Ahmedabad and its annual rooftop kite-flying festival.
    • 56 Metascore
    • 30 Michael Atkinson
    It's the kind of indie in which shrugging naturalism means nobody has a distinctive personality or energy, and the claustrophobic sense of young Industry workers collarbone-deep into their own navels is hard to shake.