Michael Atkinson Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
75% I Shot Andy Warhol (1996) The film is a dead scramble for significance in the pop-culture junk-pit, and Harron never seems sure what it is she's rummaging around for.‐ Spin
Read More | Posted Oct 25, 2019
17% Loaded (1996) A quintessential indie navel-gaze that scans like Deliverance for blotter-chewing Londonites.‐ Spin
Read More | Posted Oct 25, 2019
80% Mystery Science Theater 3000: The Movie (1996) Few films empathize quite so passionately with their audience.‐ Spin
Read More | Posted Oct 25, 2019
91% Trainspotting (1996) As in his first film, Shallow Grave, Boyle's up-your-nose style of filmmaking is a ghoulish hoot.‐ Spin
Read More | Posted Oct 24, 2019
51% Stealing Beauty (1996) Bertolucci's florid, rather sophomoric notions of decadent eroticism and parabohemian lifestyles are delivered in elliptical, inconclusive fiction-workshop parcels.‐ Spin
Read More | Posted Oct 24, 2019
65% Suburbia (1997) Effortlessly funny, Linklater's film is also devastating and spooky in its dead-on rendering of middle-class, Middle America nothingness.‐ Spin
Read More | Posted Oct 24, 2019
87% Chasing Amy (1997) What's best about Chasing Amy is that it matters in a way Smith's other films don't -- it throbs with real feelings and frustrated inadequacy.‐ Spin
Read More | Posted Oct 24, 2019
93% Irma Vep (1996) Though Irma Vep may be best appreciated by movieheads, it's hardly just an homage. By its shrieking avant-garde climax, it's more like a statement on how history, even filmed history, can fragment and dissolve into oblivion.‐ Spin
Read More | Posted Oct 24, 2019
35% Star Maps (1997) One of this year's requisite Sundance buzz-magnets. Star Maps has a queasy way of snowballing into dizzy psychodrama, and a knack for eluding cliches that is smart and sometimes amazing.‐ Spin
Read More | Posted Oct 24, 2019
61% Box of Moonlight (1997) On one level a poignant elegy for the obsessive-compulsive, DiCillo's movie is unfashionably innocent and sweet, making it unlikely grist for the hype mill.‐ Spin
Read More | Posted Oct 24, 2019
85% The Ice Storm (1997) The key to The Ice Storm's ambiguity and unexpected depth is that the events of the story mean wholly different things to different characters -- there's no moral, just life sliced like a loaf of bread.‐ Spin
Read More | Posted Oct 24, 2019
20% Kicked in the Head (1997) Kicked in the Head is a giggly bender of a movie, staggering like a rummy with a bellyful of hootch through its paranoid landscape.‐ Spin
Read More | Posted Oct 24, 2019
64% Gravesend (1997) For the most part, Gravesend is a rough-hewn, bilious, dead-real trip to Endsville. relieved occasionally by a desperate chuckle.‐ Spin
Read More | Posted Oct 24, 2019
71% I'm Leaving Now (Ya me voy) (2019) ... the film does what films like this are supposed to do: bring us close, and open our eyes.‐ The Progressive
Read More | Posted Sep 17, 2019
76% Skin (2019) Perhaps this is the most we can expect for now -- films about racism that tell us, over and over again, how very bad it is. We still wait for the film that cuts deeper.‐ The Progressive
Read More | Posted Aug 1, 2019
74% On the Basis of Sex (2019) If only Leder's film didn't over-project every narrative stroke into a sugary, overscored splat of emphasis. The only starch in the mix, and what any conscious filmgoer will respond to, is RBG herself...‐ The Progressive
Read More | Posted Jan 17, 2019
66% Vice (2018) Vice establishes a boisterous vision for popular political cinema we can only hope McKay continues to pursue.‐ The Progressive
Read More | Posted Jan 17, 2019
95% Burning (Beoning) (2018) Burning endlessly suggests questions without determining answers, and no film this year has so potently evoked the spirit of our slippery, maddening modern moment.‐ The Progressive
Read More | Posted Nov 30, 2018
97% People's Republic of Desire (2018) It's the massive number of fans, coupled with the obvious catastrophic loneliness and blind devotionalism, that makes Wu's film so haunting. ‐ In These Times
Read More | Posted Nov 2, 2018
7 100% Shirkers (2018) Tan's doc is wide awake to her lost movie's resonance, as film meta-history ellipsis, as personal coming-of-age saga, and as "a time capsule of Singapore, both real and imagined".‐ Sight and Sound
Read More | Posted Oct 29, 2018
No Score Yet The Mist in the Palm Trees (2006) Proves what many filmmakers, particularly Ozu and avant-gardists such as Warhol and James Benning, always knew - that the more you look at a single image, in one long viewing or in returning glimpses, the more mysterious it becomes.‐ Sight and Sound
Posted Jul 25, 2018
76% Invictus (2009) Invictus is Eastwood in full Stanley Kramer/Richard Attenborough mode, playing down to the Americans who love cheesy triumphant-sports movies but who generally know little about South Africa and care even less.‐ Sight and Sound
Posted Jul 10, 2018
65% The American (2010) The American is in fact a double-stunner - a retro-ish Euro-espionage thriller that's written, acted and directed as if it were still 1974.‐ Sight and Sound
Posted Jul 10, 2018
93% Araby (Arábia) (2018) It's a soft bolero of a film, painting a searing portrait of life for developing-nation laborers but coming around in the end to touches of loveliness and humanity we didn't see coming.‐ In These Times
Read More | Posted Jul 5, 2018
92% Junior Bonner (1972) [Steve] McQueen's reticent personality and hypnotic physical grace are in perfect service, and the air of authenticity is stinging.‐ Village Voice
Read More | Posted May 30, 2018
96% Zama (2018) It's already one of 2018's best and most haunting films, and a lashing indictment of colonialist hubris.‐ The Progressive
Read More | Posted Apr 27, 2018
57% Marie Antoinette (2006) Inadvertently, Coppola has painted a pathetic portrait of a spoiled kitten not unlike herself, born into unlimited resources and without a thought in her pretty head, before she lost it entirely.‐ The Stranger (Seattle, WA)
Read More | Posted Feb 28, 2018
94% Foxtrot (2018) Samuel Maoz's moody movie, his third, leaves you guessing its intentions scene by scene, but by the end you're faced with a carefully etched portrayal of an absurd society eating itself alive.‐ The Progressive
Read More | Posted Feb 22, 2018
70% Double Lover (L'amant double) (2018) It's a buffet of psychosexual delicacies, borrowed and otherwise, all staged with hot-blooded, straight-faced vigor.‐ Village Voice
Read More | Posted Feb 14, 2018
92% 24 Frames (2018) 24 Frames won't create any new Kiarostamians, but it will be a salve for those of us who wanted to sit beside him one more time, following his gaze.‐ Village Voice
Read More | Posted Jan 30, 2018
70% Happy End (2017) You have to assemble this portrait on your own; Haneke's style is cool and elliptical, and he conscientiously leaves out a lot of connective narrative tissue and exposition, making you lean in, searching for secrets.‐ The Progressive
Read More | Posted Jan 18, 2018
90% Rat Film (2017) Anthony's film is another brand of thing altogether, a weird and idiosyncratic tour through neighborhoods, actual and metaphoric, we thought we knew well.‐ The Progressive
Read More | Posted Jan 2, 2018
90% Marjorie Prime (2017) Instead, it is one of those prize indies that spools out and grows in your head for days afterwards.‐ The Progressive
Read More | Posted Jan 2, 2018
100% A Gray State (2017) Nelson's film is a fairly straightforward police-file-and-talking-heads affair, energized by the use of Crowley's own storehouse of footage, and in essence positing him as a co-director.‐ In These Times
Read More | Posted Dec 13, 2017
100% La Belle Noiseuse (1991) In its own way this sensual, granular experience is just as pure and obsessive as Rivette's less hospitable masterpieces, and almost as mysterious.‐ Village Voice
Read More | Posted Nov 28, 2017
100% Daughter of the Nile (Ni luo he nu er) (1987) It's a quintessential modern family tragedy we walk into like uninvited and invisible guests.‐ Village Voice
Read More | Posted Oct 24, 2017
92% Spettacolo (2017) Certainly, it will be difficult for many American viewers to resist not only the vacation porn, but the vision of a village so intimately bonded by its years of collective self-expression that it's nearly a social ideal.‐ In These Times
Read More | Posted Sep 14, 2017
91% A Ghost Story (2017) I was still knuckling my forehead in skepticism through to the last few minutes. But that's when the film's mournful ache abruptly feels earned, and its mysteries become tangible. Days later I was still thinking of Lowery's inspired imagery‐ In These Times
Read More | Posted Jul 13, 2017
87% Okja (2017) For someone whose films are bursting with outrageous computer imagery, and whose sensibility could be characterized as hyperviolent satiric pulp, Korean director Bong Joon-ho sure is a gung-ho Captain Planet. ‐ In These Times
Read More | Posted Jun 29, 2017
78% The Little Hours (2017) Goofy as it is, Baena's film has a lovable humility to it. It doesn't try to be the definitive anything, even as it stands as arguably the savviest Decameron adaptation ever made. ‐ In These Times
Read More | Posted Jun 20, 2017
100% Harmonium (Fuchi ni tatsu) (2017) Just as in the best old-school, Cain-style noir, Fukada's film is eloquent about the fragile privileges of modern urban life and the hidden lies it can be built upon.‐ Village Voice
Read More | Posted Jun 14, 2017
91% A Quiet Passion (2017) As the sisters' lives slide into an autumnal dark age, Davies' artificiality gives way to emotional nakedness that's at times hard to watch.‐ In These Times
Read More | Posted Apr 13, 2017
89% By the Time It Gets Dark (Dao khanong) (2017) You could be forgiven for thinking that while all this is going on, nothing at all seems to happen - it's a film, a rather gorgeous one, of glances and ephemera and delicate metaphors.‐ Village Voice
Read More | Posted Apr 12, 2017
92% Raw (2017) Some people like their movie meals straight up, steak and potatoes and no funny business. But from where I'm sitting, there's nothing quite as tasty and chewable as a film with layers and secrets.‐ In These Times
Read More | Posted Mar 16, 2017
88% Pelle the Conqueror (Pelle Erobreren) (1988) Pelle itself, rather surprisingly, is a natural, organic epic, and one that opens a window on a meticulously detailed bygone world that, by film's end, you might feel as though you've visited.‐ Village Voice
Read More | Posted Feb 27, 2017
96% The Salesman (Forushande) (2017) It's clear by now the Iranian director is something of a master, from whom every narrative filmmaker should take a crash course in complex and resonant storytelling.‐ In These Times
Read More | Posted Feb 3, 2017
93% Toni Erdmann (2016) Movies this inventively generous and organically unpredictable should be, in a proper world, produced dozens of times a year, as a matter of routine.‐ In These Times
Read More | Posted Dec 29, 2016
93% Neruda (2016) The past is hardly past: Neruda is a vintage figure, but his story is made fresh by both the filmmakers' imaginative will and by the oppression-stalked century we find ourselves in.‐ In These Times
Read More | Posted Dec 19, 2016
No Score Yet The Terrorizers (Kong bu fen zi) (1986) Yang keeps all of the balls in the air, resisting definitive answers and conjuring a lean-in sense of intimate dread.‐ Village Voice
Read More | Posted Oct 20, 2016
79% The Apostate (El Apóstata) (2016) Like Gonzalo, The Apostate is so dry and calm and reflective you can practically hear the director thinking, not too much, that's enough.‐ Village Voice
Read More | Posted Sep 8, 2016