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Michael Atkinson

Reporter · US

Indexed articles, last 90 days
3
Latest publication
Sep 25, 2026
Outlet visibility, for The Village Voice
Top 1M sites
Earliest in this view
Jul 24, 2026

Latest articles

  1. Article · Sep 25, 2026 · Michael Atkinson

    Review: The Drama in Lance Oppenheim’s ‘Primetime’ Docudrama Barely Rises to Documentary Level - The Village Voice (opens the original)

    Excerpt · Critical tone · English

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    I never watched To Catch a Predator when it ran on Dateline NBC from 2004 to 2007, being more or less allergic to 21st-century television’s version of “reality” across the board, and after seeing Predators, last year’s documentary about the show and its Faustian host, Chris Hansen, I’m fairly delighted I did not belong to that audience. Just when you thought you were pretty intimate with the demented slop-orgy enthusiastically generated between America and the craven ratings-chasers of network T

  2. Article · Aug 7, 2026 · Michael Atkinson

    Review: ‘Teenage Sex and Death at Camp Miasma’ Slashes a Genre With Wit and Mint Details - The Village Voice (opens the original)

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    In just over five years and three modest films, Jane Schoenbrun has established themself as an indisputable auteur with a particular, and maybe even troublesome, textual obsession: looking backward, to their own queer youth wandering the toxic fields of American media culture. They might just be a key generational voice — I look at my last decade of suburban undergrads, and I see Schoenbruns all the way down. Low-budge and unpredictable, the movies can often feel half-thought-out, but that’s onl

  3. Article · Jul 24, 2026 · Michael Atkinson

    Review: Nicolas Winding Refn’s ‘Her Private Hell’ Lands Viewers in Cinema Purgatory - The Village Voice (opens the original)

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    As heinously ludicrous as any movie spawned this decade by a filmmaker whose name you might recognize, Nicolas Winding Refn’s first film since 2016, Her Private Hell, is at least honestly titled — Hell it is, as well as being resolutely, monstrously private. As in, what was going on in Refn’s head, and in his pants, remains an inscrutable mystery. It’s one of those movies devised by runaway design-aholics who come to believe their every chintzy-sexy visual idea is so fabulous that narrative cont

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