Michael Atkinson
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For 856 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 6.6 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Eureka
Lowest review score: 0 Strippers
Score distribution:
856 movie reviews
    • 99 Metascore
    • 100 Michael Atkinson
    Laughton understood Agee's proximity to Grimm vaudeville, and fashioned the most intensely expressionistic movie of its day.
    • 69 Metascore
    • 100 Michael Atkinson
    Nonchalantly freaky and uncommonly pleasurable, Warm Water may well be the year's best and most unpredictable comedy.
    • 82 Metascore
    • 100 Michael Atkinson
    Safe Conduct -- a rangy, irreverent, episodic odyssey through French filmmaking during the Occupation -- is one of the very best movies ever made about the life of moviemaking.
    • 84 Metascore
    • 100 Michael Atkinson
    Achieves an abrading, intimate, primal force his later films only hint at. It's difficult to imagine the Euripides original ever being more eloquently adapted.
    • 96 Metascore
    • 100 Michael Atkinson
    The hard-charging originality of the screenplay—the equivalent of turning "The Hot Zone" into a Farrelly comedy—suggests a deficient legacy of credit to Terry Southern's corner.
    • 81 Metascore
    • 100 Michael Atkinson
    Another unforetold career acme: Christopher Guest's seductive and brilliantly modulatory A Mighty Wind, which trains its laser-sight on the decaying legacy of Peter, Paul and Mary-style pop-folk.
    • 88 Metascore
    • 100 Michael Atkinson
    It remains a stunning achievement, if nearly as exhausting and frustrating as the Tex Avery bureaucracy it roasts, but Gilliam's stylistic dysfunctionalities, art-directed out of junkyards, are what still percolate in the forebrain.
    • 71 Metascore
    • 100 Michael Atkinson
    In today's digital bog of empty light and marketing deceptions, this is what early-millennium Euro art-film masterpieces feel like--lean, qualmish, abstracted to the point of parable but as grounded as a gravedigging.
    • 93 Metascore
    • 100 Michael Atkinson
    You either love it or you love it; in any case, Martin Scorsese's history-making scald is truly a phenomenon from another day and age.
    • 80 Metascore
    • 100 Michael Atkinson
    An organic, childlike wonder, fabulously unpredictable and seethingly inventive.
    • 100 Metascore
    • 100 Michael Atkinson
    Bertolucci's masterpiece--made when he was all of 29--will be the most revelatory experience a fortunate pilgrim will have in a theater this year is a foregone conclusion.
    • 84 Metascore
    • 100 Michael Atkinson
    One of the year's best films.
    • 76 Metascore
    • 100 Michael Atkinson
    Hara-Kiri: Death of a Samurai is more than just another bid for respectability, like "13 Assassins" -it may well be Miike's best film, a patient, ominous piece of epic storytelling that conscientiously rips the scabs off the honorable samurai mythology.
    • 92 Metascore
    • 100 Michael Atkinson
    One of the year's most hypnotic and fascinating films.
    • 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.
    • 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.
    • 86 Metascore
    • 100 Michael Atkinson
    There's little sense in trying to resist the film's relentless boogie-woogie party vibe, its tumultuous visual banquet, its unpredictable sense of switchblade satire, its fools' parade of modern grotesques, or its river of startling melancholy, turning from a wary trickle to a flash flood by film's end. Sorrentino's vision is the size of Rome itself, and his confidence is dazzling.
    • 88 Metascore
    • 100 Michael Atkinson
    Easily the most rigorous, vital, and powerful movie of 2014, Sergei Loznitsa's Maidan may be a perfect Bazinian cinema-machine — reality is captured, crystallized, honored for its organic complexity, and delivered unpoisoned by exposition or emphasis.
    • 85 Metascore
    • 100 Michael Atkinson
    Naturalistic, gritty, and unrelenting.
    • Mr. Showbiz
    • 78 Metascore
    • 100 Michael Atkinson
    One of the year's best films, and certainly its most challenging so far: At more than three hours, watching it is less like consuming entertainment and more like living.
    • 90 Metascore
    • 100 Michael Atkinson
    No other movie released this year is as much of a filmgoing necessity as Francis Ford Coppola's Apocalypse Now Redux.
    • Mr. Showbiz
    • 86 Metascore
    • 100 Michael Atkinson
    Ozon -- has finally hit a home run, and Rampling is his most remarkable RBI.
    • Mr. Showbiz
    • 81 Metascore
    • 100 Michael Atkinson
    Amid the chaos of this marvelous, uncategorizable film squirms one of the year's best performances.
    • Mr. Showbiz
    • 92 Metascore
    • 94 Michael Atkinson
    The one movie so far this year that every filmgoer should see, if only to get a big dose of what we've been missing from Hollywood.
    • 84 Metascore
    • 93 Michael Atkinson
    So breathtakingly textural, so empathic in its images, that it transcends its context and achieves timelessness.
    • 86 Metascore
    • 93 Michael Atkinson
    The best film we'll see this year.
    • Mr. Showbiz
    • 70 Metascore
    • 92 Michael Atkinson
    Normal ideas of truth, illusion, and representation are sent into the meat grinder, and the result is consistently disarming and beautiful.
    • 82 Metascore
    • 91 Michael Atkinson
    For the discouraged filmgoer, Erice's tone poem will be a ray of hope itself.
    • Mr. Showbiz
    • 97 Metascore
    • 90 Michael Atkinson
    However familiar, it delivers like a shorted slot machine.

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