Michael Atkinson

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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 Paradise: Love
Lowest review score: 0 Branded
Score distribution:
878 movie reviews
    • 69 Metascore
    • 70 Michael Atkinson
    What emerges is not only an Underdog v. Simon Bar Sinister saga but a fascinating character study.
    • 75 Metascore
    • 70 Michael Atkinson
    Winterbottom was set on bare-bones realism, and so the scalding lyricism of ferocious terrain and sociopolitical absurdity seen in, say, "Kandahar" or "A Time for Drunken Horses," is never resourced.
    • 72 Metascore
    • 70 Michael Atkinson
    The film is a vehicle for Applebroog-appreciation, daughterly and otherwise.
    • 52 Metascore
    • 70 Michael Atkinson
    Bizarre, off-putting, and finally demanding of rubberneck respect, this fish-tank indie never leaves a rather lovely duplex apartment, occupied by an unemployed Everyman (Brendan Fletcher) and his roommate, Jimmy (director Matt D'Elia).
    • 85 Metascore
    • 70 Michael Atkinson
    Although the film has a righteous heart, by focusing solely on government as showbiz, it's part of what it decries. Curry makes uproarious hay with the illegal shenanigans of incumbent mayor Sharpe James, but is that all there is? That said, Street Fight has enough cultural crosscurrents to fill out a novel.
    • 89 Metascore
    • 70 Michael Atkinson
    If only this epic had enough substantial melodramatic hooks to hang this woman's beauty on; emotional traction is most often buried under acres of carefully coordinated vistas and CGI-hued flora.
    • 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.
    • 72 Metascore
    • 70 Michael Atkinson
    Still, the textures of Refn's wallow in bad behavior are completely convincing, if the plot-stuff is a little familiar and if the overarching notion that, as Quentin Tarantino said somewhere, "gangsters have kitchens, too" seems by now valid but no longer terribly fresh.
    • 71 Metascore
    • 70 Michael Atkinson
    Though at times it threatens to meander off, Penn's movie fulfills its destiny as an alienated fable of justice and luck, personified by Jack in the twilight of his iconicity, babbling to himself at the crossroads of nowhere.
    • 57 Metascore
    • 70 Michael Atkinson
    May worship heedlessly at Duras's memory, but it's a testament to Moreau alone.
    • 73 Metascore
    • 70 Michael Atkinson
    In terms of raw wit and fearless satire, the South Park kids put Mike Myers and Adam Sandler to shame.
    • 55 Metascore
    • 70 Michael Atkinson
    Idlewild has a sober, loving respect for history and the old South, and thereby grants itself a measure of distinction.
    • 70 Metascore
    • 70 Michael Atkinson
    You don't watch prolific doc-master Wang Bing's new film about a Chinese mental hospital so much as get imprisoned within it, pacing its dingy corridors and rooms like a zoo animal.
    • 65 Metascore
    • 70 Michael Atkinson
    So Goes the Nation has no new conspiracy theories, settling instead for a meticulous examination of the two political parties' hellbent voter-seduction strategies, from demographic outreach to slam ads.
    • 79 Metascore
    • 70 Michael Atkinson
    Continuing the autobiographical torrent begun nearly 30 years ago, Bright Leaves is an utterly mundane miracle, a sampling of gentle insight and poetic retrospection quietly at odds with the exploitative culture around it.
    • 78 Metascore
    • 70 Michael Atkinson
    Dynamic but preachy.
    • 90 Metascore
    • 70 Michael Atkinson
    All told, and in giant widescreen, it's only blood-red adolescent fun, but it blooms like Douglas Sirk with a Gatling gun compared to the teenage demographic's current fare. Matrix, schmatrix: This is the season's supreme party movie.
    • 62 Metascore
    • 70 Michael Atkinson
    In time, Carrey's monkeyshines, Jude Law's silhouetted reappearances as Snicket, and the inevitable descent of Beverly Hills pathos blunt the movie's fastidious dark-carnival humor.
    • 67 Metascore
    • 70 Michael Atkinson
    How enlightening you find Damian Pettigrew's obsessive film depends on whether you're as adoring of Fellini as he was of himself; for the devoted, it's a gold mine.
    • 82 Metascore
    • 70 Michael Atkinson
    Jacques Perrin's Winged Migration is merely about birds, and though you learn less about the various species Perrin circled the globe to document than you might from an afternoon with Animal Planet, you become intensely chummy with the process and labor of flying.
    • tbd Metascore
    • 70 Michael Atkinson
    Quietly and atmospherically touches on the Kiarostamian Uncertainty Principle, with Aljafari liberally corrupting his demi-documentary with scripted dialogue, rehearsals, and even digital effects.
    • 60 Metascore
    • 70 Michael Atkinson
    Uncompromising in its way, the film's portrait of codependent compulsion is so organically conceived, you start to smell the sulfur of traumatized childhood, no exposition needed.
    • 62 Metascore
    • 70 Michael Atkinson
    Barrett's trajectory is exciting, but his tribe is hilariously, dryly Irish about the experience.
    • 77 Metascore
    • 70 Michael Atkinson
    In the end, once we realize the title doesn't refer to these bantams' weight class but to their strength of heart, or something, the film feels blandly respectful and, oddly enough, apolitical.
    • 66 Metascore
    • 70 Michael Atkinson
    This is not the can't-we-get-along Arab-Persian world we see in most liberal nonfiction films, but a broader and helplessly apocalyptic view of an entire region crazed with anger, frustration, and bloodlust into objectifying death as a weapon, a cause for cosmic glory, and little else.
    • 73 Metascore
    • 70 Michael Atkinson
    Although it's thoroughly retooled, H.G. Wells's scenario doesn't allow for many soft landings, and the extreme respect for havoc on view quite properly keeps the Spielbergian cutesies to a minimum.
    • 68 Metascore
    • 68 Michael Atkinson
    A brooding, stunningly realistic portrait of familial self-destruction that raises far more questions than it can possibly answer.
    • 27 Metascore
    • 67 Michael Atkinson
    A fresh and beautifully timed, if slight, romantic comedy.

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