Michael Atkinson
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For 859 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 6.5 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Safe Conduct
Lowest review score: 0 Lara Croft Tomb Raider: The Cradle of Life
Score distribution:
859 movie reviews
    • 58 Metascore
    • 40 Michael Atkinson
    The movie is typical Hill-pulp: modestly scaled and efficiently cheesy.
    • 69 Metascore
    • 40 Michael Atkinson
    de Broca's efficient fencing-mania melodrama brings little that's original to the table.
    • 49 Metascore
    • 40 Michael Atkinson
    Obsessives can be seductive, and Toback is interesting for the same reasons his films are often unendurable: He's not an artist so much as a giant pop-cult testicle pumping absurd energy in a rampaging, self-justifying gout.
    • 38 Metascore
    • 40 Michael Atkinson
    Wittily conceived but clumsy as a newborn calf.
    • 70 Metascore
    • 40 Michael Atkinson
    Elling is nothing if not carefully controlled hokum -- both actors, the director, and screenwriter all worked it through first as a stage adaptation of a novel by Ingvar Ambjornsen.
    • 59 Metascore
    • 40 Michael Atkinson
    Stilted as a beach house, the movie crawls from one harangue to another.
    • 38 Metascore
    • 40 Michael Atkinson
    Everyone in the film is a walking cliché.
    • 60 Metascore
    • 40 Michael Atkinson
    Dryly cynical; the scenarios pit plump, amoral, industrialized Jews against draconian, wife-beating, tribal Arabs.
    • 30 Metascore
    • 40 Michael Atkinson
    Mattei is tiresomely grave and long-winded, as if circularity itself indicated profundity.
    • 46 Metascore
    • 40 Michael Atkinson
    That the Cold War was a wasteful charade proves Bitomsky's point amply enough, but his movie is a repetitive bore.
    • 54 Metascore
    • 40 Michael Atkinson
    One of those hellishly predictable digital-monster gauntlets that makes you pity the actors.
    • 41 Metascore
    • 40 Michael Atkinson
    Sandler is less goofy than spitefully self-absorbed, and most of the comedy feels like child abuse.
    • 50 Metascore
    • 40 Michael Atkinson
    Since Lee is a sentimentalist, the film is more worshipful than your random "E! True Hollywood Story."
    • 65 Metascore
    • 40 Michael Atkinson
    An adept mood maker, Medem strains madly for cosmic alliances, fairy-tale imagery, and fated coincidences, but he triumphs only with two hot bodies, a cluttered apartment, and a Shower Massage.
    • 37 Metascore
    • 40 Michael Atkinson
    In the end, Ted Bundy's only justification is the director's common but unexplored fascination with the frustrated maniac; there's no larger point, and little social context. "Badlands" this ain't.
    • 42 Metascore
    • 40 Michael Atkinson
    It's an easier movie to tolerate than it should be if, like me, you're in love with Téa Leoni, who, as a lithe, lusty, strangely patient firecracker Superwife in a shag, rescues the movie from the tar pit of irrelevance. With some decent lines, she could be the new Myrna Loy.
    • 32 Metascore
    • 40 Michael Atkinson
    Only Giovanni Ribisi, with a back-of-the-bus speech about the betrayals of insurgent and counter-insurgent politics, finds a genuine moment. All the same, for some unfathomable reason, Dylan's autumnal self-salute is not particularly difficult to watch.
    • 61 Metascore
    • 40 Michael Atkinson
    Wang mistakes affectless storytelling and character conception for rigor, and as a result huge portions of Beijing Bicycle are dull and repetitive.
    • 63 Metascore
    • 40 Michael Atkinson
    The commonest sort of cultural pasteurization.
    • 68 Metascore
    • 40 Michael Atkinson
    His movie (Jordan's) winnows the original's existentialist fable into a busy caper thriller, copping plot devices from Soderbergh's "Ocean's 11" and even straining to Wong Kar-wai its camera's way around the fleshpots of Nice. It's all pizzazz, and the pizzazz is all borrowed.
    • 55 Metascore
    • 40 Michael Atkinson
    Gave me a craving for something nouvelle, not a half-hearted Hollywood co-optation.
    • 61 Metascore
    • 40 Michael Atkinson
    Irritatingly repetitious and piled high with long-foreseen conclusions.
    • 35 Metascore
    • 40 Michael Atkinson
    Written, directed, and edited with the offhand shoddiness of a day worker thinking about his evening beer.
    • 55 Metascore
    • 40 Michael Atkinson
    What's more disappointing is how filthy Invincible is with missed opportunities for Herzog to be Herzog.
    • 54 Metascore
    • 40 Michael Atkinson
    Polished and visualized with a sharp sense of place, writer-director Robert Connolly's drama is propped up by bogus science (the relationship between stock undulations and the Mandelbrot set is never made plausible), and the characters are paint-by-numbers.
    • 52 Metascore
    • 40 Michael Atkinson
    Zucker's frenzied trifle is painless, with a few decent running gags -- and an ocean of bad ones.
    • 48 Metascore
    • 40 Michael Atkinson
    A big, stupid bull with bodacious tits, but that's not to say it doesn't dish out some lite hardy-hars.
    • 56 Metascore
    • 40 Michael Atkinson
    Cliché-density aside, Roger Donaldson's perfectly rote movie is childishly naive about the reality of the CIA as it stands in the official record and in the public mindset.
    • 25 Metascore
    • 40 Michael Atkinson
    Campbell is the movie's primary power source. His steely gaze and overbearing quietude are forever tainted; "Once and Again" doesn't stand a chance in Lifetime reruns.
    • 41 Metascore
    • 40 Michael Atkinson
    Eccentric enough to stave off doldrums, Caruso's self-conscious debut is also eminently forgettable.

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