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
Highest review score: 100 Secret Sunshine
Lowest review score: 0 The Cat in the Hat
Score distribution:
633 movie reviews
    • 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.
    • 62 Metascore
    • 30 Michael Atkinson
    Washington directs with proficient blandness charged only occasionally by organic acting moments.
    • 32 Metascore
    • 30 Michael Atkinson
    The story -- is just what fills in the gaps between slow-motion fireballs, Matrix-style frozen mayhem, and Halle Berry's notoriously undraped breasts.
    • 40 Metascore
    • 30 Michael Atkinson
    At its most indulgent and posturing, Piñero plays like a movie the man himself might've made, between scores.
    • 75 Metascore
    • 30 Michael Atkinson
    First-timer Dylan Kidd's film isn't Molièrian in its misanthropy, but rather as boneheaded as an hour of talk-radio hobgoblin Tom Leikis.
    • 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.
    • 36 Metascore
    • 30 Michael Atkinson
    It'll make you cyberlaugh, it'll make you cybercry, just like cyberlife -- One thing is certain: your boredom
    • 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.
    • 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.
    • 42 Metascore
    • 30 Michael Atkinson
    The film exists in a humid meta-movie ether all its own.
    • 57 Metascore
    • 30 Michael Atkinson
    Requiring an enormous amount of suspended disbelief, the original Rings may be a culture-specific phenom; despite strenuous efforts to Americanize Nakata's field of bad dreams, the preview audience did a lot of cackling.
    • 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.
    • 56 Metascore
    • 30 Michael Atkinson
    Logic, motivation, suspense -- anything that might make the film frightening or resonant -- is buried under Dolby blams, medulla-shaming dialogue, and a rain of overdubbed hunting-knife schwings that grate like a 3 a.m. car alarm.
    • 44 Metascore
    • 30 Michael Atkinson
    The screwiest yarn yet from Shyamalan's metaphysical-Limburger career project, a non-horror horror film.
    • 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.
    • 59 Metascore
    • 30 Michael Atkinson
    If you see it, the sequel will be your fault.
    • 35 Metascore
    • 30 Michael Atkinson
    Fawzi shoots the proceedings in clumsy, gotch-eyed spurts, and the level of incoherence is impressively high.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 30 Michael Atkinson
    Far from engaged, the film practically surrenders in an arthritic faint.
    • 53 Metascore
    • 30 Michael Atkinson
    The film is stale Chinese popcorn from the get-go, with only Chen's wiry guilelessness and wicked athletic skills to keep it remotely edible.
    • 34 Metascore
    • 20 Michael Atkinson
    The blood is raspberry syrup, the gags gag, and the film virtually falls over itself informing us how lame it is.
    • 30 Metascore
    • 20 Michael Atkinson
    Far more preposterous in its details than the average blam-quip-kerplow, The Art of War isn't helped by the performances.
    • 38 Metascore
    • 20 Michael Atkinson
    Not only microwaves what is already four-day-old fish in Paris, but lets the original director, screenwriters, and stars do the reheating.