Michael Atkinson

Select another critic »
For 878 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 7.9 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Warm Water Under a Red Bridge
Lowest review score: 0 Strippers
Score distribution:
878 movie reviews
    • 65 Metascore
    • 50 Michael Atkinson
    Hardly the kids'-sports movie we need, but maybe it's as much as we can handle.
    • 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
    The details are eye-opening (or ear-opening, in the case of marching songs taught to the new Marines about slaughtering Arab schoolchildren), but soon Foulkrod's film backs itself into a Support Our Troops corner.
    • 31 Metascore
    • 50 Michael Atkinson
    Amid the cliché and foreshadowing, Cage manages a degree of casual realism.
    • 54 Metascore
    • 50 Michael Atkinson
    It's decent, exoticized pulp with a porcelain veneer, and should be consumed idly.
    • 47 Metascore
    • 50 Michael Atkinson
    As homey as old sweats.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Michael Atkinson
    Dano, with his remarkably guileless meta-teen puss, is thoroughly convincing, which is more than can be said for the film's shameless climactic steal from "Five Easy Pieces."
    • 56 Metascore
    • 50 Michael Atkinson
    It's a sprightly, low-fiber comedy while the comedy lasts.
    • 49 Metascore
    • 50 Michael Atkinson
    What results is unremarkably schizophrenic--half gritty sojourn into the inner-city furnace, half Hollywood brain death.
    • 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.
    • 51 Metascore
    • 50 Michael Atkinson
    Rarely funny and straining to reach feature length, The American Astronaut achieves sweetness via its straight-faced take on utter gobbledygook.
    • 80 Metascore
    • 50 Michael Atkinson
    Like the film, Pai's character is muddily conceived and ill-focused, but the coltish, tremulously delicate Castle-Hughes is a hypnotic camera subject.
    • 46 Metascore
    • 50 Michael Atkinson
    Everything is pre-medieval and unwashed, but with Antoine Fuqua at the steering wheel King Arthur is still a comic book, if a little more "Classics Illustrated" in tone than we'd have the right to expect.
    • 71 Metascore
    • 50 Michael Atkinson
    Man Push Cart is a diminutive film, finally--vying for a neorealist vibe, it lacks the Italian history makers' narrative urgency, and the sociopolitical conflict at the heart of the immigration "issue" is hardly engaged.
    • 71 Metascore
    • 50 Michael Atkinson
    Dolls risks the bank on symbology as gaudy as teen anime and as heavy as a stone temple.
    • 45 Metascore
    • 50 Michael Atkinson
    For better or worse, Vanilla Sky is a genuine, albeit jejune, statement of star consciousness -- blustery with self-awe and feverish with cataclysmic self-doubt.
    • 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.
    • 58 Metascore
    • 50 Michael Atkinson
    Foer's ironic ideas have a lovely roundness to them, and somehow the film achieves Holocaust-fiction balance without much ado or melodrama. It may be substantially less ambitious than its source material, but that may be what saves it from implosion.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Michael Atkinson
    All in all, the movement turned out to be a godsend for Rio natives, but the film is merely a pep rally.
    • 51 Metascore
    • 50 Michael Atkinson
    Taylor traipses around after Zizek on a continent-hopping lecture tour, and we get a face full of the man's tireless analysis, in a style that can only be characterized as hyperactive grizzly bear, complete with spit-spewing speech impediment.
    • 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."
    • 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.
    • 71 Metascore
    • 50 Michael Atkinson
    May be the ultimate paradigm of self-reflexive cinema, eating Godard's tail for him and one-upping the classic anti-cartoon Duck Amuck by submitting to a cunning entropy and a self-inquiry so relentless the movie never moves from square one.
    • 58 Metascore
    • 50 Michael Atkinson
    Women of a certain age will kvell, but the point might be better made for the rest of us by rewatching the autumnal Rampling in Ozon's "Under the Sand."
    • 52 Metascore
    • 50 Michael Atkinson
    As is typical of contemporary Italian movies, every one of Comencini's women seems on the verge of a hysterical collapse.
    • 58 Metascore
    • 50 Michael Atkinson
    Kid-pulp screenwriter Goyer (Dark City, Blade I and II) manages some mature textures but his movie never surmounts its manipulative ideas.

Top Trailers