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 6.7 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Lowest review score: 0 Strippers
Score distribution:
850 movie reviews
    • 71 Metascore
    • 80 Michael Atkinson
    A successful novelist and restrained actor's director, Carrére makes the transformation of a silly marital argument into a cosmic upheaval look easy, and profound as well.
    • 76 Metascore
    • 80 Michael Atkinson
    Yamada's decidedly undazzling yet expressive filmmaking approaches classicism, from a sensei training session captured in one lengthy shot to the final showdown, seen with shifting points of view that suggest a relativist unease with the cut-and-dried judgments of war culture.
    • 75 Metascore
    • 80 Michael Atkinson
    Emblematic of the man's (Oshima) career: ironic, ambiguous, sublime.
    • Mr. Showbiz
    • 77 Metascore
    • 80 Michael Atkinson
    However schematic, the movie percolates with immediacy and genuine warmth.
    • 48 Metascore
    • 80 Michael Atkinson
    What a world we'd live in if Argento's Hollywood counterparts -- say, Sarah Michelle Gellar, or even Christina Ricci -- had this much imagination and nerve. Few of them, at any rate, have Argento's reserves of lonesome passion and unspigoted woe.
    • 79 Metascore
    • 80 Michael Atkinson
    The cast never skips a beat, particularly Mark Margolis as the most obnoxious dinner customer in cinema history and Summer Phoenix as his unfazed waitress.
    • 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.
    • 88 Metascore
    • 80 Michael Atkinson
    Dietrich is the movie's primary cannon: Her amused eyes, open face, and relaxed sensuality monopolize our sympathies.
    • 85 Metascore
    • 80 Michael Atkinson
    A minor triumph of atmosphere and nightmare imaginings.
    • 83 Metascore
    • 80 Michael Atkinson
    A delicacy for mature filmgoers who are able to derive as much pleasure from a perfectly, sympathetically crafted essay as from a well-spun yarn.
    • Mr. Showbiz
    • 57 Metascore
    • 80 Michael Atkinson
    It's easily the most disarming and inventive movie made for genre geeks in years.
    • 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.
    • 80 Metascore
    • 80 Michael Atkinson
    Based on a memoir by a grown daughter of the eldest girl and rarely digressing from the journey itself, the movie is a dusty, calloused, primal Odyssey, as forceful and single-minded as a bullet train.
    • 61 Metascore
    • 80 Michael Atkinson
    In a culture clogged with appropriated effluvia and remake cop-outs, Willard is wittier and nastier than we deserve.
    • 75 Metascore
    • 80 Michael Atkinson
    At its most contemplative, The Trilogy is a stirring and shrewd portrait of lives lived in oblivious parallel. [Note: From a review of the entire trilogy.]
    • 61 Metascore
    • 80 Michael Atkinson
    At its most contemplative, The Trilogy is a stirring and shrewd portrait of lives lived in oblivious parallel. [Note: From a review of the entire trilogy.]
    • 73 Metascore
    • 80 Michael Atkinson
    At its most contemplative, The Trilogy is a stirring and shrewd portrait of lives lived in oblivious parallel. [Note: From a review of the entire trilogy.]
    • 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.
    • 77 Metascore
    • 80 Michael Atkinson
    Bani-Etemad's generational melodrama observes a blue-collar dynastic collapse worthy of Lillian Hellman, but stays steadfastly fixed on the quotidian of Tehran life.
    • 89 Metascore
    • 80 Michael Atkinson
    Possibly the most Rorschachian film of all time, a symbol-only text that effortlessly conforms to any political present, and finds a foothold in your social sphere whether you're a free radical or reactionary wing nut.
    • 64 Metascore
    • 80 Michael Atkinson
    It's a small, unassuming movie grasping at whole-hog homo psychopathicus, with its feet planted squarely in Texan grave dirt and its head lost in the ether of Christian derangement.
    • 84 Metascore
    • 80 Michael Atkinson
    Brilliant, mind-boggling.
    • Mr. Showbiz
    • 61 Metascore
    • 80 Michael Atkinson
    Kim's movie rocks -- I saw it cold a year ago, and I don't think I've been as entranced and appalled by an Asian film since Shinya Tsukamoto's "Iron Man."
    • 83 Metascore
    • 80 Michael Atkinson
    Its sluggish, amateur-Kiarostami character would be off-putting if the material weren't so powerful.
    • 55 Metascore
    • 80 Michael Atkinson
    The heartfelt use of extrasensory events as metaphors for a child's grasp of adult mysteries has a poetry to it, and the unblinking sympathy for kids struggling with evil and with the strange frequencies of prepubescent passion can, if your defenses are down, lay you out.
    • 51 Metascore
    • 80 Michael Atkinson
    Myers has hit upon a genuinely original schtick, and that fact alone is immeasurably groovy.
    • Mr. Showbiz
    • 38 Metascore
    • 80 Michael Atkinson
    Fleder's forgettable thriller has a convincing edge, and Douglas remains unchallenged as Hollywood's most tremulous and disquieting dad-under-pressure.
    • 56 Metascore
    • 80 Michael Atkinson
    Roth never fully exploits the woods around him, and the homes of the locals are far too middle-class, but because so many clichés are discarded amid the flesh rot, even the patented "Night of the Living Dead" coda feels sharp-edged and genuine.
    • tbd Metascore
    • 80 Michael Atkinson
    What's not recognized enough is the indelible, self-sickened performance of William Holden as Desmond's boy-toy/hired hack.
    • 93 Metascore
    • 80 Michael Atkinson
    In one movie, at least, the ethical baseline (heisted, you could argue, from "Sweet Smell of Success") gave Fellini's roaming, cluttered mise-en-scène a chilling gravity he could never genuinely locate again.