Michael Atkinson
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For 850 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 Almayer's Folly
Lowest review score: 0 Bewitched
Score distribution:
850 movie reviews
    • 81 Metascore
    • 90 Michael Atkinson
    Possibly the Iranian new wave's last meta-man, Panahi is in an ideal position to make the unique methodology of his filmmaking merge with its substance. But he's always been fascinated by how a film's bell-jar bubble can be punctured, leaving a viscous interface between real and cinematic.
    • 78 Metascore
    • 90 Michael Atkinson
    The lovely ball-&-socket meeting of the two artists' sensibilities is what makes the doc sing, even if it is a chronicle of a death foretold.
    • 85 Metascore
    • 90 Michael Atkinson
    Her (Cheung) gorgeously sad face and slow, lithe frame are the movie's hammer and chisel. One shot of her walking away from a rented room down a hallway is, all by itself, twice the movie of anything else currently in theaters.
    • Mr. Showbiz
    • 78 Metascore
    • 90 Michael Atkinson
    This is what Woody Allen movies might be like if they were not ruled by narcissism, pretentious point-scoring, cheap observations, and Woody's peculiar speech patterns.
    • Mr. Showbiz
    • 91 Metascore
    • 90 Michael Atkinson
    The ride is remarkable.
    • 81 Metascore
    • 90 Michael Atkinson
    It might be the scariest movie ever made.
    • Mr. Showbiz
    • 90 Metascore
    • 90 Michael Atkinson
    The Truman Show is one of the films for which the '90s will be remembered, and it is not to be missed.
    • 76 Metascore
    • 90 Michael Atkinson
    Easily the best directorial debut of the year, and possibly the most mature and haunting film to ever come out of Scotland, Lynne Ramsay's Ratcatcher is a throat-catching masterpiece of lyricism, observation, and stone-cold realism.
    • Mr. Showbiz
    • 80 Metascore
    • 89 Michael Atkinson
    Maddin's movie is, frame for frame, the densest and most spectacular (albeit cardboard-cheap) film playing anywhere.
    • 76 Metascore
    • 89 Michael Atkinson
    Suzhou River might be more pulpy than profound, but it still sings its old song better than we've heard in years.
    • 61 Metascore
    • 89 Michael Atkinson
    Easily the year's most trying, tormented, and thrilling movie ordeal.
    • Mr. Showbiz
    • 90 Metascore
    • 89 Michael Atkinson
    An ingenious, incredibly entertaining, Rorschach-blot meta-comedy based on a spec script (by first-timer Charlie Kaufman) that is completely unlike anything anyone has ever seen before.
    • Mr. Showbiz
    • 77 Metascore
    • 87 Michael Atkinson
    Lusts for a feel-good ending the material doesn't comfortably provide. One can't help wondering how dismal Jerry and Dorothy's life together will be after the credits roll.
    • 72 Metascore
    • 86 Michael Atkinson
    A superb, wise, and witty Taiwanese film about being single and what to do about it.
    • 71 Metascore
    • 84 Michael Atkinson
    Might be the most original film of the year.
    • 77 Metascore
    • 84 Michael Atkinson
    Dumont's movie has virtually nothing wrong with it -- aside from the fact that it drives people crazy. Take the leap, but expect no answers. Just like life, as they say.
    • 73 Metascore
    • 84 Michael Atkinson
    An explosive experience...and you have to love the movie's rabid energy and lust.
    • Mr. Showbiz
    • 90 Metascore
    • 81 Michael Atkinson
    Topsy-Turvy is flawless, borne along by a savagely witty screenplay that Leigh directs like the gears of a clock.
    • 78 Metascore
    • 81 Michael Atkinson
    Lacks scope and doesn't resonate grandly as a portrait of an American underbelly like Morris' earlier works do. But it still packs a wallop.
    • 65 Metascore
    • 81 Michael Atkinson
    Easily the best millennial movie, Don McKellar's Last Night is also the only one to use the idea of apocalyptic end-time as a vehicle to explore the absurdity of human desire.
    • 85 Metascore
    • 80 Michael Atkinson
    A minor triumph of atmosphere and nightmare imaginings.
    • 80 Metascore
    • 80 Michael Atkinson
    Like a Hollywood dolt, Majidi strives to overwhelm us with emphasis, but it's the reality he was savvy to load his movie with that's touching.
    • 76 Metascore
    • 80 Michael Atkinson
    Most of all, it's an early chapter of Demy's courtship with the provincial France of his youth, with the most bewitching generation of French actresses, and with movies.
    • 75 Metascore
    • 80 Michael Atkinson
    Buoyant with quiet smiles and unpretentious fondness.
    • 67 Metascore
    • 80 Michael Atkinson
    To many eyes, Berlin was the saddest city in 20th-century Europe, divided and lost, and as city symphonies go, Siegert's is pragmatic and optimistic.
    • 80 Metascore
    • 80 Michael Atkinson
    As news, it smokes CNN.
    • 88 Metascore
    • 80 Michael Atkinson
    Dietrich is the movie's primary cannon: Her amused eyes, open face, and relaxed sensuality monopolize our sympathies.
    • 61 Metascore
    • 80 Michael Atkinson
    In a culture clogged with appropriated effluvia and remake cop-outs, Willard is wittier and nastier than we deserve.
    • 62 Metascore
    • 80 Michael Atkinson
    It's a simple pleasure watching an American movie that respects genre, knows its limitations, and genuflects at the memory of Don Siegel in the age of Spielberg.
    • 67 Metascore
    • 80 Michael Atkinson
    Confessions keeps its cards close, and Kaufman is perfectly capable of starving his screenplay to save it, and perfectly happy with being misunderstood.