Michael Atkinson
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For 861 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 6.5 points lower than other critics. (0-100 point scale)

Michael Atkinson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 The Great Beauty
Lowest review score: 0 Mr. Deeds
Score distribution:
861 movie reviews
    • 78 Metascore
    • 80 Michael Atkinson
    Without the intrusion of voice-overs or interviews, Mylan and Shenk attained a remarkable intimacy with the strapping, earnest, startlingly beautiful teenagers.
    • 85 Metascore
    • 80 Michael Atkinson
    Far from a maxim-expounding sermon, the film is a fresh spring of irrational visual pleasure.
    • 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.
    • 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.
    • 64 Metascore
    • 80 Michael Atkinson
    Thrusts us into a high school senior year like no other.
    • 68 Metascore
    • 80 Michael Atkinson
    Built to outrage, appall, and indict.
    • 86 Metascore
    • 80 Michael Atkinson
    All the same, Eastwood's point of view has been seasoned enough to locate poignancy and respect for his protagonists where you least expect -- saying it's an old man's movie is a serious compliment.
    • 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.
    • 88 Metascore
    • 80 Michael Atkinson
    It's a heart-sundering vision of preadolescent helplessness that rivals passages of "Landscape in the Mist" and "Ponette."
    • 83 Metascore
    • 80 Michael Atkinson
    Having emerged from his new German cinema heyday as one of the world's most guileless and original documentary filmmakers, Herzog has slowly been crafting a four-dimensional fresco of the planet, its most human-resistant landscapes, and our dubious dramas in confronting the chaos.
    • 67 Metascore
    • 80 Michael Atkinson
    Broad and pleasantly idealistic, and the evident ardor for 150-year-old graphics (especially Dore's Ancient Mariner masterstrokes) is hard to argue with. But is it a movie or the best-designed episode of "Nova" ever?
    • 51 Metascore
    • 80 Michael Atkinson
    Just as fabulously cartoon-Gothic as "Sleepy Hollow."
    • 82 Metascore
    • 80 Michael Atkinson
    Although le Carré's story may seem predictable and unduly focused on the plight of a pale, wealthy Old Worlder adrift in a sea of needy East Africans, the movie's human material is masterfully manipulated.
    • 80 Metascore
    • 80 Michael Atkinson
    Good Night, and Good Luck's primary handicap is history itself -- the toe-to-toe televised dialogue between McCarthy and Murrow was, however arguably vital to the Wisconsin senator's eventual retreat, brief and less than epochal. Even so, the wonderfully mustered context wins out.
    • 78 Metascore
    • 80 Michael Atkinson
    While the astonishing street footage of "l'affaire Langlois"--perhaps more familiar to the French than to us--is where this exhaustive talking-heads portrait becomes beautifully, bafflingly surreal, the whole project, however conventional, has the allure of a communal embrace, a home movie of a motherland left irrevocably in the past.
    • 66 Metascore
    • 80 Michael Atkinson
    A black-blooded hoot.
    • 56 Metascore
    • 80 Michael Atkinson
    Promiscuously inhabiting several planes at once, Reygadas's restless inquisition may already be this year's movie to beat.
    • 67 Metascore
    • 80 Michael Atkinson
    Michael Glawogger's rather majestic Workingman's Death takes a symphonic structure to document some of the ugliest and most dangerous shit work on the globe.
    • 93 Metascore
    • 80 Michael Atkinson
    It seems almost incontestably...the most gorgeously photographed film ever made. [23 March 1999]
    • 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.
    • 85 Metascore
    • 80 Michael Atkinson
    Often stark and ravishing, Nostalgia for the Light is most moving as a manifestation of the filmmaker's stubborn righteousness.
    • 61 Metascore
    • 80 Michael Atkinson
    Because it's so carefully parceled out and so evocatively framed (in widescreen), Wrecked is an absorbing ordeal, perhaps less for its survival narrative than its metaphoric heft.
    • 65 Metascore
    • 80 Michael Atkinson
    Predictably, the holes in the narrative set us up for a twist or three, but, in balance, it's a pleasure to be back in the wet alleys and spy-patrolled streets of the GDR, however vague they seem without '60s black-and-white cinematography.
    • tbd Metascore
    • 80 Michael Atkinson
    Intimations of infection loom (ships pass waving polio quarantine flags) and sexual games are played, but Antonioni was then the most obsessively compositional filmmaker alive, and the movie is all about the scary, foggy, metaphysical negative spaces.
    • 78 Metascore
    • 80 Michael Atkinson
    My Joy is a maddening vision and one of the year's must-see provocations.
    • tbd Metascore
    • 80 Michael Atkinson
    Skolimowski's Eastern Bloc–existentialist chops finally emerge in the last act, as the futility of looking for a diamond in the snow evolves into a sex-death underwater ballet.
    • 85 Metascore
    • 80 Michael Atkinson
    The new film is more informational than resonant. But you can still sense a vacuum, a rat pit of stories waiting to be unearthed. The dark something that triggered the whole ordeal in West Memphis is still out there.
    • 73 Metascore
    • 80 Michael Atkinson
    Slick and grown-up as Richard Gere himself, this intricate fiscal thriller takes a dead bead on extreme privilege.
    • 55 Metascore
    • 80 Michael Atkinson
    Something of a wonder, a palm-size ball of banter and irony and earnestness that never stops rolling and almost never misses the sweet spots.

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