Michael Atkinson
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For 862 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 6.8 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Lowest review score: 0 Bewitched
Score distribution:
862 movie reviews
    • 58 Metascore
    • 39 Michael Atkinson
    An orgy of bad decisions and cheap ideas.
    • 34 Metascore
    • 38 Michael Atkinson
    The characters aren't convincingly written, rarely if ever behave like believable humans, and consequently don't matter to us in the least.
    • 51 Metascore
    • 36 Michael Atkinson
    Pushes the standard tropes of gay romance movies a few more steps toward full-blown cliché-dom.
    • 24 Metascore
    • 34 Michael Atkinson
    To say that it's dull barely scratches the surface.
    • Mr. Showbiz
    • 56 Metascore
    • 33 Michael Atkinson
    A ponderous stage adaptation that expends only the mildest effort to overcome its staginess.
    • Mr. Showbiz
    • 34 Metascore
    • 32 Michael Atkinson
    A tepid, pretentious indie that flies from the memory like a tissue in a twister.
    • 44 Metascore
    • 32 Michael Atkinson
    Joffe's latest is a formless, inanimate lump.
    • 45 Metascore
    • 31 Michael Atkinson
    One of our very few consummate movie star actors, Washington can't quite elevate this dismal material as he's been able to do in the past, but he retains his dignity.
    • Mr. Showbiz
    • 11 Metascore
    • 31 Michael Atkinson
    It's a chilling piece of legal hysteria, and ripe for nasty farce. But Pooh plays it all for buffoonish pratfalls and fart jokes.
    • 16 Metascore
    • 31 Michael Atkinson
    An earnest but fatally amateurish and stereotypical melodrama about fraternity hazing.
    • 24 Metascore
    • 31 Michael Atkinson
    Oak-stiff and witless, but a few scenes muster up embarrassed chuckles.
    • 29 Metascore
    • 31 Michael Atkinson
    Flows like day-old cement.
    • Mr. Showbiz
    • 43 Metascore
    • 31 Michael Atkinson
    The movie is so slovenly in its animation and graceless in its writing that few viewers over the age of 9 are likely to notice.
    • 55 Metascore
    • 30 Michael Atkinson
    Every other line is a coy Oirishism, and Brosnan, despite being Irish, isn't any more convincing than twinkly-eyed barmaid Julianna Margulies.
    • 53 Metascore
    • 30 Michael Atkinson
    Eisenstadt has nowhere to go with her catalogue of relaxed urban crazies, and at 79 minutes, the movie is padded out by four song interludes too many.
    • 32 Metascore
    • 30 Michael Atkinson
    Director Vicente Amorim's dramatic instincts evoke after-school specials (most of the drama entails the clan's brooding teenager chomping at the parental bit), and his visual ideas are restricted to aping "City of God's" fish-eye ambience and hectic editing.
    • 57 Metascore
    • 30 Michael Atkinson
    Not only is the dialogue endless...it's like driving behind a 15 mph geezer on a one-way street.
    • 63 Metascore
    • 30 Michael Atkinson
    Schmaltz served in a hand-painted cup, Happy Times culminates in a Chekhovian complement of two narrated letters that have a mutually corresponding force the rest of the film only hints at. By then, our hopes have fatally diminished.
    • 48 Metascore
    • 30 Michael Atkinson
    xXx
    Diesel himself has the personality of a golem and a knack for dialogue delivery that suggests recent oral surgery.
    • 78 Metascore
    • 30 Michael Atkinson
    The carload of codgers in Fred Schepisi's Last Orders merely bellyache, philosophize, crack unfunny jokes, and ruminate simplemindedly about Death.
    • tbd Metascore
    • 30 Michael Atkinson
    Vacillating between free-associative shtick and complete inertia, Lord Byron is lost in thought and allergic to reason.
    • 50 Metascore
    • 30 Michael Atkinson
    It's a campy, juiced-up ker-splat, busy with clumsy pyrotechnics and never nearing the vicinity of satire.
    • 63 Metascore
    • 30 Michael Atkinson
    Unoriginal and mired in bad jokes.
    • 66 Metascore
    • 30 Michael Atkinson
    It's not easy to endure, despite -- or due to the embarrassment of -- an all-star cast.
    • 47 Metascore
    • 30 Michael Atkinson
    Garcia's tale bemoans the loss of easy wealth for a precious few. Poor people are absolutely absent; Garcia and Infante seem to have thought that peasant revolutions happen for no particular reason--or at least no reason the moneyed 1 percent should have to worry about.
    • 49 Metascore
    • 30 Michael Atkinson
    If you're considering the scenario via Japan's ubiquitous pedo-porn tendencies, you're too educated for this exhaustive, manga-based bloodbath, which trails after these angsty teenyboppers on a scorched-fake-earth path through hundreds of growling baddies of every genre size and type.
    • 50 Metascore
    • 30 Michael Atkinson
    This all-digital indie is, by genre standards, either a misfired doodle or an attempt to Lovecraft-ize the popular movement. Or both.
    • 51 Metascore
    • 30 Michael Atkinson
    Gardos, an experienced film editor, has little narrative sense, and decent performances (except from Kinski, who just worries and huffs around) are left out to dry.
    • 62 Metascore
    • 30 Michael Atkinson
    Ivey hits the turf pitching and catching dialogue like a pro, but nothing could have saved What Alice Found from a fundamental cinematic illiteracy.
    • 28 Metascore
    • 30 Michael Atkinson
    Despite exposition delivered so redundantly and witlessly you think you're in a Kaplan class, Stigmata manages to be incoherent.

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