Michael Atkinson

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For 882 reviews, this critic has graded:
  • 30% higher than the average critic
  • 3% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 8.7 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Hara-Kiri: Death of a Samurai
Lowest review score: 0 The Cat in the Hat
Score distribution:
882 movie reviews
    • 78 Metascore
    • 80 Michael Atkinson
    In the Fog has the inevitability of an avalanche, and only our overfamilarity with Nazi-tribulation scenarios, and perhaps its excessively punctuated ending, could slow it down. A better anti-summer blockbuster is hard to imagine.
    • 80 Metascore
    • 80 Michael Atkinson
    Berberian may sound like it's more fun to pick over afterward than watch, but it's also masterfully crafted.
    • 73 Metascore
    • 60 Michael Atkinson
    Hardly the trippy icon the doc’s title suggests, the artist is now more like everyone’s slightly seedy hedonistic granduncle, happiest sketching cartoon pigs and walking the moors of County Cork.
    • 56 Metascore
    • 20 Michael Atkinson
    This pubescent navel-gazer has only its star Holland (Brian De Palma’s stepdaughter) to recommend it, not for her acting but only for her undeniable corn-fed–Emmanuelle Béart looks.
    • 69 Metascore
    • 60 Michael Atkinson
    A movie of one billion cigarettes, Hannah Arendt is about moral reason, not personality. It could do worse than lead you straight to the woman’s books.
    • 78 Metascore
    • 80 Michael Atkinson
    Sweet and fiercely humane, Song’s layered family portrait is decidedly Buddhist: silent when it needs to be and steadfast about approaching inevitable tragedy with care and patience.
    • 100 Metascore
    • 100 Michael Atkinson
    Voyage to Italy is close to watching actual strangers suffer loneliness despite being together. It can leave an aching bruise, but only if you're paying attention.
    • tbd Metascore
    • 70 Michael Atkinson
    It's hard to be certain whether the film's placidity is an ironic gag, but the modesty at work turns out to be pretty likable, as strange as that sounds.
    • 65 Metascore
    • 100 Michael Atkinson
    It might be the most lonesome film about a tropical vacation we've seen, and the greatest film ever made about the weird socioeconomics of tourism.
    • 57 Metascore
    • 30 Michael Atkinson
    Far from engaged, the film practically surrenders in an arthritic faint.
    • 81 Metascore
    • 80 Michael Atkinson
    Leon’s grungy resume indie is a conscientiously modest deal in the end, with a sweet, mumblecoresque ending, but it glows with unmistakable star power.
    • 76 Metascore
    • 90 Michael Atkinson
    Garrone's film grows in your head afterward, making royal hash out of a cultural paradigm we'll be loath to remember years from now—if, by then, everything hasn't become "reality."
    • 59 Metascore
    • 20 Michael Atkinson
    Patronizing from toe to chin, the film opts continually for self-congratulation and cheesy aphorism, and could've-should've been comfortable slotted into a half hour of airtime on TJC.
    • 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.
    • 83 Metascore
    • 70 Michael Atkinson
    By now, grandchildren are ever-present, and stasis has set in. Apted's entire project is awesome in scale but subject to inevitable diminishing returns.
    • 48 Metascore
    • 40 Michael Atkinson
    Little more than a résumé film for all involved, it certainly feels more Park City than Bushwick.
    • 52 Metascore
    • 40 Michael Atkinson
    You're stuck daydreaming about a far, far better movie.
    • 60 Metascore
    • 50 Michael Atkinson
    Tiresomely simple, the film introduces a subplot involving betrayal and political informants in the eleventh hour, but by then you're either smitten by these guileless Zulu lads experiencing "freedom" on the waves or you've checked out.
    • 61 Metascore
    • 70 Michael Atkinson
    There's no missing Kellstein's unstated horror during the fight sequences, which traffic in queasy blood sport absurdity that overshadows "Battle Royale" and "The Hunger Games," because the cherubs are eight and because it's all too real.
    • 49 Metascore
    • 40 Michael Atkinson
    Treading on a shameful piece of French history, Bosch bizarrely intercuts scenes of Hitler, Himmler, and Hess working out the logistics of the exportations, in vignettes that smack of "Inglourious Basterds" farce, but otherwise, she's got a steady grip on the tear-jerking, if that's your awards-season cocktail.
    • 55 Metascore
    • 80 Michael Atkinson
    Something of a wonder, a palm-size ball of banter and irony and earnestness that never stops rolling and almost never misses the sweet spots.
    • tbd Metascore
    • 70 Michael Atkinson
    In the end, we glimpse footage of the real Augiéras, but by then, the film wanders off into its own set of suggested Cagean possibilities, and what you get feels closer to a fable-essay about the meaning of art than a narrative. Sweet stuff.
    • 48 Metascore
    • 60 Michael Atkinson
    It is, for a contemporary CGI-fraught fantasy-slash-living-video-game, not at all bad, dotted with moments of Bosch and steady on its storytelling feet.
    • 52 Metascore
    • 70 Michael Atkinson
    The historical road less traveled - shot in re-enactments that are obviously familiar with the terrain - is beguiling enough.
    • 20 Metascore
    • 0 Michael Atkinson
    Branded has ideas, but unfortunately, the ideas are reeking batshit nuts, especially once the cheaply animated "brand" monsters, which might not actually exist, start flying around like Ghostbusters mistakes biting one another. You've been warned.
    • 73 Metascore
    • 80 Michael Atkinson
    Slick and grown-up as Richard Gere himself, this intricate fiscal thriller takes a dead bead on extreme privilege.
    • 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."
    • 41 Metascore
    • 40 Michael Atkinson
    The dialogue is as stock as the characters, and James's visual palette never surpasses the adequate.
    • tbd Metascore
    • 40 Michael Atkinson
    At first, Hoffman appears to be juxtaposing the savoir faire and genuine deprivation of the Depression society with the spoiled, consumption-crazed world we have now, but then he merely lapses into a vague Occupy-ish indictment of the 1 percent and the collapse of community as a cultural foundation.
    • 92 Metascore
    • 100 Michael Atkinson
    One of the year's most hypnotic and fascinating films.

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