For 209 reviews, this critic has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 4.5 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
Average review score: 55
Highest review score: 100 Under the Sand
Lowest review score: 3 I Woke Up Early the Day I Died
Score distribution:
  1. Positive: 81 out of 209
  2. Negative: 47 out of 209
209 movie reviews
    • 27 Metascore
    • 67 Michael Atkinson
    A fresh and beautifully timed, if slight, romantic comedy.
    • 54 Metascore
    • 67 Michael Atkinson
    It's Besson's stunning visual fluency that takes center stage, and in the end, that's not quite enough.
    • 73 Metascore
    • 67 Michael Atkinson
    It's such an accomplished, beguiling film in its details that you almost don't notice that the story is scattershot, arbitrary, and thin -- almost.
    • 68 Metascore
    • 67 Michael Atkinson
    Has storytelling rambles and lapses that no amount of electrifying jump-cuts and original image-making can compensate for.
    • 63 Metascore
    • 67 Michael Atkinson
    A classic Sundance résumé movie -- texturally interesting, bubbling with ideas, and as structurally predictable as a cardboard box.
    • 71 Metascore
    • 67 Michael Atkinson
    It is only once the movie has exhausted its roster of "weird" notions and contrived images that it finds its emotional footing, leaving you with one half of a lovely, woebegone film.
    • 91 Metascore
    • 66 Michael Atkinson
    The characters are barely characters, the story barely a story, and the elliptical filmmaking style that so besots Denis' many fans could drive you to drink.
    • 66 Metascore
    • 66 Michael Atkinson
    Despite terrific comic acting...and an atomic first hour, Fight Club makes a few wrong turns and ends up lost itself.
    • 38 Metascore
    • 65 Michael Atkinson
    Has an unforgettable artery of hot-blooded talent coursing straight through it.
    • 67 Metascore
    • 65 Michael Atkinson
    Assiduous, temperate, and a lot more honest about government and politicians than any other Hollywood film of the last few decades, Thirteen Days is nevertheless too little, too late.
    • 70 Metascore
    • 65 Michael Atkinson
    A vapor trail of a comedy, comfortable as an old chair (and deliciously photographed in shades of melon and banana by Chinese vet Zhao Fei), but ultimately quaint and unchallenging.
    • 69 Metascore
    • 64 Michael Atkinson
    For all its originality, O Brother doesn't seem to have a point, or enough spark to distract us from the lack thereof.
    • 62 Metascore
    • 64 Michael Atkinson
    The frequent song interludes will distract the kids (but send the adults into comas), and the anti-Disney satire rages as never before.
    • 56 Metascore
    • 63 Michael Atkinson
    It's a drab, familiar story with no oomph (and less humor than you'd think), and it's inconsistent.
    • 77 Metascore
    • 63 Michael Atkinson
    The dilemma is simple: Living, making art, and then dying does not constitute much of a story.
    • 72 Metascore
    • 63 Michael Atkinson
    Accomplished, middlebrow costume-drama entertainment. It's not so simple that it could be mistaken for the work of, say, Lasse Hallström, and yet it's not so sophisticated that audiences of "Chocolat" would be mystified.
    • 65 Metascore
    • 63 Michael Atkinson
    Burton's films are endearing and impassioned despite the fact that they generally fail to tell a whole story, create a single rounded character, or inspire even mild laughs or chills.
    • 64 Metascore
    • 62 Michael Atkinson
    Mature and adroitly performed but ultimately underachieving.
    • 44 Metascore
    • 61 Michael Atkinson
    There's a sense of life to Committed that's unpredictable and sweet, but too much of it is cluttered with lazy shortcuts.
    • 72 Metascore
    • 61 Michael Atkinson
    It's yet another serial killer movie, a plot element that by this point in time, far from being disturbing or fascinating, is just plain dull.
    • 70 Metascore
    • 61 Michael Atkinson
    From the beginning of his career a fervent, epic documentarian, Herzog is a personal filmmaker as well, and My Best Fiend is certainly his most intimate and introspective film.
    • 75 Metascore
    • 60 Michael Atkinson
    Arresting, visually accomplished documentary.
    • 61 Metascore
    • 60 Michael Atkinson
    Packed with melodrama, and often it works in the passionate, easy-to-watch manner of an old-fashioned "woman's film."
    • 39 Metascore
    • 60 Michael Atkinson
    But it's Lopez's movie, and its limitations are hers: Both actress and movie tackle emotional turmoil with a minimum of insight.
    • 49 Metascore
    • 60 Michael Atkinson
    Glossy, gruesome police drama.
    • 68 Metascore
    • 60 Michael Atkinson
    For some viewers, this will seem a trial of predictability and unrelenting sweetness; for others, it's more than enough.
    • 47 Metascore
    • 60 Michael Atkinson
    Sags, lollygags, and blusters too much to sustain the what-the-hell momentum that Kitano achieves in his best movies.
    • 63 Metascore
    • 60 Michael Atkinson
    The voyage is never less than interesting, even when you have no idea where it could possibly go.
    • 75 Metascore
    • 60 Michael Atkinson
    Pure, irrational, claustrophobic, gritty, unpretentious.
    • 73 Metascore
    • 60 Michael Atkinson
    The cast is largely nonprofessional, and the story has the simplicity of myth.