Michael Atkinson

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For 881 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 8.4 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Apocalypse Now Redux
Lowest review score: 0 Branded
Score distribution:
881 movie reviews
    • 58 Metascore
    • 70 Michael Atkinson
    The acting, by a large cast of little-known young Brits chewing on South London accents like dog bones, is uniformly splendiferous.
    • tbd Metascore
    • 70 Michael Atkinson
    However defined, the movie's a moody piece of Wellesian chiaroscuro (shot by Max Greene, né Mutz Greenbaum) and an occasionally discomfiting underworld plunge, particularly when the mob-controlled wrestling milieu explodes into a kidney-punching donnybrook.
    • 71 Metascore
    • 70 Michael Atkinson
    Dead flesh is a ruling motif, but Gleize's airy, observant personality makes even the graphic dismemberment of the bull, scored with flamenco stomps, buoyant and fascinating.
    • 57 Metascore
    • 70 Michael Atkinson
    May worship heedlessly at Duras's memory, but it's a testament to Moreau alone.
    • 68 Metascore
    • 70 Michael Atkinson
    The storytelling is eloquent and genuine, but the Manns' unadventurous approach (compared to, for instance, last year's intimate road movie "Fighter") rarely hits emotional pay dirt.
    • 63 Metascore
    • 70 Michael Atkinson
    Naturally, the worm turns again and again in this demi-Hitchcockian death trap, and Nakata knows how to shoot scenes of breath-holding paranoia: from a distance, simply, in real time. (We'll see how the inevitable remake, directed by Jonathan Glazer, measures up.)
    • 70 Metascore
    • 70 Michael Atkinson
    Hardly a scene goes by without a digitally fractured flashback or spasm of editing punctuation, rupturing the movie's otherwise carefully wrought sense of authenticity.
    • 68 Metascore
    • 70 Michael Atkinson
    May be an elaborate stunt, a bungee jump, but even so, it's forceful enough to leave a rare palpitating residue.
    • 79 Metascore
    • 70 Michael Atkinson
    Nothing if not confrontational.
    • 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.
    • 69 Metascore
    • 70 Michael Atkinson
    What emerges is not only an Underdog v. Simon Bar Sinister saga but a fascinating character study.
    • 66 Metascore
    • 70 Michael Atkinson
    Heist is a neat, bouncy, minor-key crime procedural that shakes no rafters. Glorious, freestanding Mametisms are dropped into it like beef hunks into clear soup.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 70 Michael Atkinson
    By way of a tragic left hook, Haroun's relaxed movie climaxes back where it began, on the devastated home ground. The journey, however pessimistic, is like a gentle handshake.
    • 82 Metascore
    • 70 Michael Atkinson
    A mild upkick in pacing and texture can be credited to director Alfonso Cuarón (more Little Princess than Y Tu Mamá), who avoids Chris Columbus's mastodon-like setups and knows a bit more about whipping up atmospherics.
    • 59 Metascore
    • 70 Michael Atkinson
    As hokey as "Braveheart" and yet much more apocalyptic, Thanit Jitnukul's muscular jungle bloodbath outdoes Hollywood's recent efforts at combat ultra-realism.
    • 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.
    • 76 Metascore
    • 70 Michael Atkinson
    The actors are all on target (particularly Penelope Wilton as Shaun's relentlessly cheery mum), and taken on its own shaky legs it's a wittier genre coda than "Abbott and Costello Meet Frankenstein."
    • 64 Metascore
    • 70 Michael Atkinson
    Kurosawa strolls through his narrative with relaxed confidence, suggesting apocalyptic significances without assuring us that he has anything particular on his mind.
    • 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.
    • 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.
    • 79 Metascore
    • 70 Michael Atkinson
    It's a gut-twisting story handled, largely and predictably, with asbestos mitts.
    • 63 Metascore
    • 70 Michael Atkinson
    Moody, pretentious, but potent.
    • 79 Metascore
    • 70 Michael Atkinson
    Little in a Jaoui film is particularly original, but it's all perfectly convincing.
    • 72 Metascore
    • 70 Michael Atkinson
    Busting with clips from films Haskell Wexler shot and directed, the doc is a rare thing: an ingenuous portrait of a thoroughly Four-Square Artist, Assembled With Love And Rockets Inside A Family's Spite-Tainted Gates.
    • 82 Metascore
    • 70 Michael Atkinson
    Slowly evolves into an oddly affecting mood piece.
    • 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.

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