Michael Sragow
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For 1,035 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 4.9 points higher than other critics. (0-100 point scale)

Michael Sragow's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Band's Visit
Lowest review score: 0 Death Race
Score distribution:
1,035 movie reviews
    • 45 Metascore
    • 58 Michael Sragow
    Terrence Howard has stolen 50 Cent's thunder - and his lightning, and his storm clouds, too - twice in one year.
    • 76 Metascore
    • 58 Michael Sragow
    The movie comes together like a nihilistic jigsaw puzzle - with a few pieces removed for that special, indefinable dash of pseudo-density.
    • 54 Metascore
    • 58 Michael Sragow
    Memoirs of a Geisha was never primed to be a film that burns down the house.
    • 77 Metascore
    • 58 Michael Sragow
    It lacks even Tarantino-esque vitality. It moves more like a busted concertina.
    • 65 Metascore
    • 58 Michael Sragow
    In the end, the movie proves to be, like Brosnan's character, a tarted-up cliche: a whoremonger with a heart of gold.
    • 83 Metascore
    • 58 Michael Sragow
    Cache is the feel-guilty movie of the new millennium.
    • 47 Metascore
    • 58 Michael Sragow
    As social commentary, Fun With Dick and Jane wears Leno-thin. As a big-screen sitcom, it's a procession of hit-or-miss touches that cancel each other out.
    • 49 Metascore
    • 58 Michael Sragow
    With Tristan & Isolde, the core must be a passion that enlarges two outsize characters and seems as momentous as the rise and fall of a kingdom. Too bad this film's Achilles' heel is its heart.
    • 43 Metascore
    • 58 Michael Sragow
    Unfortunately, the waste of artistic possibilities dwarfs the human wreckage - and the human salvage - in Freedomland.
    • 52 Metascore
    • 58 Michael Sragow
    If you haven't had enough of Tom Hanks-Meg Ryan weepies like "Sleepless in Seattle" (1993) and "You've Got Mail" (1998), The Lake House gives us Mopey in Chicago and You've Got Snail Mail.
    • 72 Metascore
    • 58 Michael Sragow
    Contains a dozen winning moments of humor, uplift or exhilaration. But are they enough to justify a 154-minute running time?
    • 62 Metascore
    • 58 Michael Sragow
    They put the material on lifts - and end up tripping into TV dramedy land.
    • 52 Metascore
    • 58 Michael Sragow
    It's sad that with everything it has going for it, this movie plays like a tall tale -- something too good to be true.
    • 65 Metascore
    • 58 Michael Sragow
    Despite the dominant air of foolishness, the filmmaking is lush, lively and intelligent, but the gap between the direction and the script is appalling.
    • 52 Metascore
    • 58 Michael Sragow
    From the moment he enters the picture, Baldwin looks good and sick of the whole scene. Unless you're in the mood for dysfunctional-family vaudeville, it won't take long for you to catch up with him.
    • 56 Metascore
    • 58 Michael Sragow
    For most of its meandering running time Harsh Times is just a rough South Central L.A. buddy movie.
    • 61 Metascore
    • 58 Michael Sragow
    If only De Niro or screenwriter Eric Roth had the instinct to play some of this for laughs or even outrageous burlesque. Despite their conviction and intelligence and their game, amazing cast, all they do is eke out a series of straight-faced dramatic reversals and personal betrayals that leave the dramatis personae, and the audience, numb.
    • 73 Metascore
    • 58 Michael Sragow
    Notes on a Scandal isn't humorous or witty enough to sustain black comedy, and it isn't insightful or deep enough to suggest a contemporary tragedy. All it does is put an eloquent veneer on petty meanness.
    • 85 Metascore
    • 58 Michael Sragow
    In "Jaws," you didn't know whether to laugh or to scream. In The Host, the yocks rarely mesh with the yucks.
    • 66 Metascore
    • 58 Michael Sragow
    As a documentary, the film is woefully underdeveloped.
    • 74 Metascore
    • 58 Michael Sragow
    A Mighty Heart has the surface tension of a first-rate docudrama but neither the passion nor the vision to encompass its powerhouse subject.
    • 52 Metascore
    • 58 Michael Sragow
    The film is mostly forced and heavyhanded. Forman first thought of using Goya to tell a story about the Inquisition several decades ago. Yet this movie appears to be as much about American behavior post-Sept. 11 as it is about 18th-century Spain or the Communist Czechoslovakia of Forman's youth.
    • 64 Metascore
    • 58 Michael Sragow
    It's one big miss.
    • 59 Metascore
    • 58 Michael Sragow
    It's like a breeze so slight it doesn't leave a tickle.
    • 49 Metascore
    • 58 Michael Sragow
    The saving grace in an exuberantly graceless movie is Clive Owen. This actor is bulletproof. Even in a sick-joke jamboree like Shoot 'Em Up, he mows down the competition and gets his laughs without losing his composure.
    • 56 Metascore
    • 58 Michael Sragow
    Disarming, discombobulating and disappointing.
    • 65 Metascore
    • 58 Michael Sragow
    In the Valley of Elah is too inept and diffuse to be a howl against the war in Iraq. At best, it is a manly whimper.
    • 61 Metascore
    • 58 Michael Sragow
    First-time director Swicord brews an atmosphere of geniality and warmth and brings a modicum of momentum to a happily discursive book.
    • 61 Metascore
    • 58 Michael Sragow
    Tang Wei brings a terrible and awe-inspiring purity to an impure character.
    • 67 Metascore
    • 58 Michael Sragow
    Anderson creates a deluxe train set, for sure. All he neglects is building up an electric current or a head of steam.
    • 53 Metascore
    • 58 Michael Sragow
    It's seductive in its buildup but overall as subtle and, alas, as humorless as a hatchet to the brain.
    • 76 Metascore
    • 58 Michael Sragow
    Misplaced hero-worship and glibness get in the way of its amazing true story.
    • 81 Metascore
    • 58 Michael Sragow
    The movie has been hailed and marketed as this year's Little Miss Sunshine, but it has none of that movie's empathy and comic surprise. Too much of it is like a subpar episode of Freaks and Geeks, padded out to 92 minutes with pseudo-witty dialogue.
    • 48 Metascore
    • 58 Michael Sragow
    A strictly by-the-book sequel: It doesn't cheat series fans but it doesn't offer many thrills or surprises or lingering puzzles, either.
    • 63 Metascore
    • 58 Michael Sragow
    It's doubly disappointing that all the subplots about Ace and Wallace and their fathers intertwine in increasingly predictable ways.
    • 67 Metascore
    • 58 Michael Sragow
    Kate Beckinsale is too good for any of the guys in Snow Angels and too good for this movie. Her inventiveness exposes just how puny this movie is.
    • 55 Metascore
    • 58 Michael Sragow
    See it with people who take it for the trash it is, and you can cheer the baroque killings and laugh fondly with Forest Whitaker as he tries too hard to create a domestic sociopath to match his role as "Idi Amin."
    • 54 Metascore
    • 58 Michael Sragow
    Intermittently fresh and amusing in a low-down yet schmaltzy way.
    • 54 Metascore
    • 58 Michael Sragow
    You never get the sense that the director, Peter Segal, knows where the funny is, whether in his star or in the story.
    • 61 Metascore
    • 58 Michael Sragow
    Thanks to Suvari, audiences laugh nervously at the mortification of soul and flesh, but she doesn't really do them much of a favor. She simply keeps them watching as a would-be gross-out comedy turns into would-be gross-out tragedy.
    • 44 Metascore
    • 58 Michael Sragow
    To Pellington's credit, the performers eschew sentimentality.
    • 60 Metascore
    • 58 Michael Sragow
    It's Cheadle's rich emotionality and sense of humor that have gone seriously missing in Traitor.
    • 65 Metascore
    • 50 Michael Sragow
    The movie never generates the authority it needs to be all that it can be.
    • 49 Metascore
    • 50 Michael Sragow
    The casting in K-PAX is canny, but the picture as a whole is a clunky mix of the canny and the would-be uncanny.
    • 48 Metascore
    • 50 Michael Sragow
    As for the Ya-Yas: They're not as much fun as the First Wives' Club.
    • Baltimore Sun
    • 69 Metascore
    • 50 Michael Sragow
    The only gold in Sunshine State comes from its three female stars.
    • Baltimore Sun
    • 75 Metascore
    • 50 Michael Sragow
    Holofcenere genuinely wants to make pictures that plug into an audience's need for intimate contemporary comedies. But she doesn't do enough to quench that thirst.
    • 44 Metascore
    • 50 Michael Sragow
    From the start, this movie sets the bar high -- then, unfortunately, runs smack into it.
    • Baltimore Sun
    • 48 Metascore
    • 50 Michael Sragow
    It's hard to see Franklin's fingerprints on the material. It's as if he directed with his gloves on.
    • 71 Metascore
    • 50 Michael Sragow
    What's fatal to the film is that De Niro's character, though compelling, is so temperate and wise he gives no indication of why he was drawn to a life of crime.
    • 53 Metascore
    • 50 Michael Sragow
    Poses as the story of a wild, eccentric love match but is really about a match made in limbo.
    • 67 Metascore
    • 50 Michael Sragow
    So minimalist that you wouldn't miss much if you watched semi-awake and listened to a friend's running commentary.
    • 73 Metascore
    • 50 Michael Sragow
    The blend of chic histrionics and ultra-bright daylight imagery make much of the movie resemble a network soap opera with an on-location interlude. It looks as cheap as life is held in Medellin.
    • 69 Metascore
    • 50 Michael Sragow
    Divided We Fall has a lot going for it, but its Places in the Heart ending, sentimental and incongruous, helps ensure that it will not find a place in a demanding audience's heart or mind.
    • 53 Metascore
    • 50 Michael Sragow
    O
    This turgid melodrama fast-breaks away from the heart of its own subject.
    • 39 Metascore
    • 50 Michael Sragow
    The script gives the actors less of a chance than the dragons give to Homo sapiens.
    • 72 Metascore
    • 50 Michael Sragow
    Shallow and one-sided.
    • 72 Metascore
    • 50 Michael Sragow
    On screen, Road to Perdition becomes a lace-curtain shoot-'em-up about fathers and sons. The graphic novel is more kinetic and more powerful than the motion picture.
    • Baltimore Sun
    • 48 Metascore
    • 50 Michael Sragow
    The real obstacle here is a lack of filmmaking imagination.
    • 70 Metascore
    • 50 Michael Sragow
    The movie doesn't complete itself, in the sense of filling in our knowledge of its people (who are more like passengers). It simply comes to a stop.
    • 47 Metascore
    • 50 Michael Sragow
    Too bad it doesn't deserve to fold the bedsheets of Paul Mazursky's L.A. roundelay "Bob & Carol & Ted & Alice" (1969).
    • 64 Metascore
    • 50 Michael Sragow
    The movie fails at the primary steps of turning Rejas' mind inside out and dramatizing the contradictions in his heart and soul.
    • 48 Metascore
    • 50 Michael Sragow
    Director Gillian Armstrong drains all the emotional energy out of the people who dot her movie's lovely landscape.
    • 63 Metascore
    • 50 Michael Sragow
    What's hilarious about the build-up is that Secretary proves to be the softest, most middle-of-the-road movie that could have been made about this subject.
    • 35 Metascore
    • 50 Michael Sragow
    Too bad Dreamcatcher amounts to a pastiche of better films like the original "The Thing" and both versions of "Invasion of the Body Snatchers." It ransacks the audience's memory warehouse.
    • 51 Metascore
    • 50 Michael Sragow
    For a movie with such a vibrant real-life base, An American Rhapsody is surprisingly low-impact.
    • 60 Metascore
    • 50 Michael Sragow
    These actors have a firm playful grasp and a palpable affection for their characters' befuddled dignity and attraction. They understand what Wilde meant by the importance of being earnest.
    • 61 Metascore
    • 50 Michael Sragow
    All honesty, rebellion and suffering, but no depth.
    • 71 Metascore
    • 50 Michael Sragow
    Despite its adrenalized actors, Tape is a tired return to the roots of the American indie movement's popular surge a dozen years ago. It could have been called "sex, lies and audiotape."
    • 70 Metascore
    • 50 Michael Sragow
    Denzel Washington does a cocksure turn in Training Day -- That may be enough to transform a shallow picture with delusions of grandeur into a crowd-pleasing hit.
    • Baltimore Sun
    • 85 Metascore
    • 50 Michael Sragow
    Starts out as a barbed, poignant little movie and turns into an excruciating slow-motion car wreck.
    • 46 Metascore
    • 50 Michael Sragow
    Overdoes it and falls on its farce.
    • 52 Metascore
    • 50 Michael Sragow
    With Nicholson and Sandler aboard, we want to love it madly. But instead of a tickle, this big-name comedy just grates.
    • 56 Metascore
    • 50 Michael Sragow
    As a franchise, the James Bond series needs its stomach stapled.
    • 66 Metascore
    • 50 Michael Sragow
    In Spy Kids 2, Rodriguez tries to hold his family-spy saga together with the digital equal of rubber bands and chewing gum.
    • Baltimore Sun
    • 35 Metascore
    • 50 Michael Sragow
    Up against the wit and teamwork of the sparkling TV original, this lame vehicle sputters and fades.
    • 64 Metascore
    • 50 Michael Sragow
    Gory but lifeless.
    • 63 Metascore
    • 50 Michael Sragow
    This movie's biggest contribution to film history will be resurrecting Davies' reputation as a natural comedian stuck in deadly costume pictures because her lover wanted her placed on a pedestal.
    • 66 Metascore
    • 50 Michael Sragow
    Auto Focus is a gutless wonder.
    • 62 Metascore
    • 50 Michael Sragow
    As a whole, The Matrix Reloaded is thin on magic, charm, surprise and fun. It's less like an all-out escape, or even a thrill ride, than a sensory workout. At best, it's a treadmill-like bridge to the hoped-for splendors of episode three, The Matrix Revolutions.
    • 46 Metascore
    • 50 Michael Sragow
    The overarching joke, of course, is that most movies are so lousy they might as well have been made by blind men anyway. Hollywood Ending is only mediocre, but you may leave wondering, what's Allen's excuse?
    • 47 Metascore
    • 50 Michael Sragow
    There are the gadgets and the effects. But Cats and Dogs definitely could have been more fetching.
    • Baltimore Sun
    • 65 Metascore
    • 50 Michael Sragow
    The kind of joyless, over-calculated hit that may leave viewers feeling not haunted but headachy.
    • 71 Metascore
    • 50 Michael Sragow
    Those who come to the movie cold will find it an exasperating assembly of brutal pedantry and whimsies, boasting far less charm or grace than even the first Harry Potter picture.
    • 66 Metascore
    • 50 Michael Sragow
    It wants to be like no other movie you've ever seen. It's more like every movie you've ever seen.
    • Baltimore Sun
    • 52 Metascore
    • 50 Michael Sragow
    Maybe the best way to see Serendipity is to take a cue from the characters and wait a few years.
    • Baltimore Sun
    • 47 Metascore
    • 50 Michael Sragow
    Hasn't got quite the right sound as it did in Annie Proulx's novel.
    • Baltimore Sun
    • 81 Metascore
    • 50 Michael Sragow
    You have to grasp at straws to make even "poetic" sense of the narrative.
    • 83 Metascore
    • 50 Michael Sragow
    Spider as a character is a fantasizing detective, but the movie is no Singing Detective (the high-water mark of the sub-genre). This film rarely rises above a murmur.
    • 45 Metascore
    • 50 Michael Sragow
    Like an over-packed three-scoop cone -- it melts into a mess while we're still slurping away.
    • 56 Metascore
    • 50 Michael Sragow
    Phone Booth may not be awful, but it's puny.
    • 79 Metascore
    • 50 Michael Sragow
    Whale Rider is one long, sensitive downer capped by an uplifting finale. A martyr fantasy that turns victorious -- it's a surefire recipe for arthouse crowd-pleasing.
    • 61 Metascore
    • 50 Michael Sragow
    Instead of exploding, it implodes.
    • 84 Metascore
    • 50 Michael Sragow
    Mystic River wants to be a Bruce Springsteen-like anthem of life and death in blue-collar America. It's no more than a doggerel rendition of poetic injustice.
    • 47 Metascore
    • 50 Michael Sragow
    The Matrix Revolutions blends feather-brained, starry-eyed camp and rock-'em-sock-'em spectacle -- so it's at least more entertaining than the second Matrix film, which hung in the air like a noxious cloud.
    • 55 Metascore
    • 50 Michael Sragow
    If you feel yourself glowing after Love Actually, you might be suffering from sugar shock.
    • 70 Metascore
    • 50 Michael Sragow
    Luckily, Penn, Watts and Leo carry more weight than that; they keep this movie's two hours and five minutes from seeming like lost time.
    • 52 Metascore
    • 50 Michael Sragow
    Watching The Gospel of John is like listening to a religious audiotape while working a picture flip-book of the Bible.
    • 55 Metascore
    • 50 Michael Sragow
    The Missing is so dour it makes you wonder why they didn't all just pack up and go back East.
    • 69 Metascore
    • 50 Michael Sragow
    What's frustrating is that the movie should be so much better, or at least more entertaining. With Baldwin, Macy and Bello, director Kramer is holding three of a kind.
    • 55 Metascore
    • 50 Michael Sragow
    In The Last Samurai, the body count is almost as high as the dead-brain-cell count.
    • 72 Metascore
    • 50 Michael Sragow
    Webber's film offers painstaking reproductions of the town of Delft circa 1665 in all four seasons. That's just the problem: you feel every pain he took. Girl With a Pearl Earring is an art movie in the worst way.
    • 74 Metascore
    • 50 Michael Sragow
    Falls victim to flimsy characters and a love story that strains reality.
    • 42 Metascore
    • 50 Michael Sragow
    The movie, brief though it is, feels as padded as a travelogue.
    • 82 Metascore
    • 50 Michael Sragow
    Strip away the portentous style and lush views of nature in The Return and all you've got is a slender nightmare of a family gone haywire in an outing that turns into survival camp.
    • 89 Metascore
    • 50 Michael Sragow
    Wants to be a bittersweet comedy about erotic loss and memory loss. But it doesn't have the heart or brain.
    • 47 Metascore
    • 50 Michael Sragow
    On the plus side, the casting is superb - and the acting, too. Although the context is overwrought and the moviemaking over-the-top, Washington acts from the ticker out.
    • 66 Metascore
    • 50 Michael Sragow
    All Fey does is apply a smattering of wit to the story.
    • 75 Metascore
    • 50 Michael Sragow
    There's no innocence left in Shrek 2. The helter-skelter story and throwaway gags emerge from a sensibility that confuses gossipy knowingness and jadedness with wit.
    • 53 Metascore
    • 50 Michael Sragow
    To their credit, director Nick Cassavetes and screenwriter Jeremy Leven heighten the melodrama and seize on the most distinctive strokes of Nicholas Sparks' bland best seller.
    • 38 Metascore
    • 50 Michael Sragow
    At two hours, The Chronicles of Riddick is way too long for ridiculous.
    • 42 Metascore
    • 50 Michael Sragow
    Great casting ideas, like Glenn Close and Christopher Walken as "the King and Queen of Stepford," don't pay off, because the filmmakers' increasingly desperate twists alter the basis of the characters.
    • 55 Metascore
    • 50 Michael Sragow
    Spielberg believes, admirably, that art can grow from love, and vice-versa. But in The Terminal he makes the mistake of insisting on it, repeatedly.
    • 64 Metascore
    • 50 Michael Sragow
    At the end of Napoleon Dynamite, you're glad the geeks have their day (even Kip's chat-mate turns out be a winner); you're also relieved to be rid of them.
    • 63 Metascore
    • 50 Michael Sragow
    Despite the cunning mixture of live-action footage and animatronic effects in Two Brothers, there's more imagination and wonder in a good old Sabu picture like "The Jungle Book" (1942). Two Brothers is more like a tacky jungle comic book.
    • 67 Metascore
    • 50 Michael Sragow
    The problem is not merely that Moore preaches to the choir. It's that, at his worst, he's so bumptious and bullheaded that he helps keep that choir small and strident. In Fahrenheit 9/11, Moore is so anti-Bush that he becomes a Bizarro-world version of Bush himself: tone-deaf, spluttering, incapable of framing an intelligent debate.
    • 46 Metascore
    • 50 Michael Sragow
    Plays like a remake - not of "Knights of the Round Table" (1953) but of director Antoine Fuqua's previous "Tears of the Sun" (2003).
    • 79 Metascore
    • 50 Michael Sragow
    The movie dramatizes a social-sexual sea change with an out-of-control blend of cartoon farce and melodrama and clinical, often ludicrous sex scenes.
    • 81 Metascore
    • 50 Michael Sragow
    The movie gets as overblown and masochistic as the worst Joan Crawford vehicle. Its saving grace is that Bernal really does have his own deep-set, smoldering variation on Bette Davis eyes.
    • 65 Metascore
    • 50 Michael Sragow
    The word "yuppie" has fallen out of favor from overuse, but Closer's young urban professionals are so vain and superficial they may bring it back as the ultimate putdown. This movie is a yuppie nightmare.
    • 62 Metascore
    • 50 Michael Sragow
    In Robert Gordon's script, Handler's hilariously literate bouts of psychological torture develop no consistent tone, voice or momentum.
    • 86 Metascore
    • 50 Michael Sragow
    In a boxing soap-opera way, Eastwood is trying to do for himself as a performer what Sergio Leone did for him in a spaghetti-western way: douse his rough-hewn banality with reflected emotional coloration.
    • 63 Metascore
    • 50 Michael Sragow
    It makes for quite a rumpus, but the material never catches fire.
    • 63 Metascore
    • 50 Michael Sragow
    The Assassination of Richard Nixon makes Bicke suffer the greatest indignity: it turns him into a relentless bore.
    • 49 Metascore
    • 50 Michael Sragow
    Ragged and frenetic.
    • Baltimore Sun
    • 66 Metascore
    • 50 Michael Sragow
    Dubowski's movie is an act of hope that the basic human needs of the gay Orthodox will someday be reconciled with their faith.
    • 58 Metascore
    • 50 Michael Sragow
    Yet [Smith] can't keep the movie from stopping cold with another hour left to go.
    • 50 Metascore
    • 50 Michael Sragow
    It all comes off as a case of filmmakers wanting to have their communion wafer and eat it, too.
    • 70 Metascore
    • 50 Michael Sragow
    Although the acclaimed documentary Gunner Palace contains some electrifying vignettes of the Iraq war, its jaggedly elliptical and hopped-up style lands it in a limbo between ragged and slick.
    • 74 Metascore
    • 50 Michael Sragow
    And the movie, likable for short stretches, ends up seeming worn and frayed, like Christmas decorations left hanging until spring.
    • 44 Metascore
    • 50 Michael Sragow
    Remember mood rings? The Ring Two is a mood movie - a bad-mood movie.
    • 74 Metascore
    • 50 Michael Sragow
    Despite its director's skill at staging trash with dash, Oldboy is too long and portentous to be an enjoyable B movie. The movie's self-seriousness short-circuits its sensationalism.
    • 74 Metascore
    • 50 Michael Sragow
    Sin City is a seedy tribute to rugged masculinity disguised as a rogue's gallery, all the better to please college boys who like their sentimentality slicked with grunge.
    • 41 Metascore
    • 50 Michael Sragow
    Sahara doesn't waste time on introductions. It wastes time in other ways.
    • 48 Metascore
    • 50 Michael Sragow
    The lack of condescension is the movie's saving grace, if grace is the right word. There's no snobbery to the low-blow humor, or to Reynolds' low-key, genial comeback turn, or to Sandler's more-ingratiating-than-athletic lead performance.
    • 70 Metascore
    • 50 Michael Sragow
    Batman Begins is obvious from the get-go - and almost no fun.
    • 52 Metascore
    • 50 Michael Sragow
    This fake-feminist thriller hides its sadism under a show of sympathy for its beleaguered heroine.
    • 50 Metascore
    • 50 Michael Sragow
    Like "Mr. and Mrs. Smith," The Island is the kind of suicidal high-concept movie increasingly prevalent these days: a film so thoroughly pre-conceived and pre-sold that most audiences know more about what's going on than the characters do for half the movie.
    • 65 Metascore
    • 50 Michael Sragow
    The most grievous flaw in Richard Linklater's remake of Michael Ritchie's 1976 misfit juvenile baseball comedy The Bad News Bears is that it over-relies on Thornton's willingness to play an irredeemable degenerate.
    • 33 Metascore
    • 50 Michael Sragow
    Les Mayfield doesn't know how to stage showdowns and chases so they're exciting or funny.
    • 36 Metascore
    • 50 Michael Sragow
    Domino should have been a terrific anti-heroine, but the movie never gets deep enough inside this walking time bomb to reveal what makes her tick.
    • 87 Metascore
    • 50 Michael Sragow
    Romanticism fights stoicism to a draw, and the movie grows ever more static, too. Down to the quasi-ambiguous hate-crime finish, Brokeback Mountain comes as close to being a still life as you can get with human characters.
    • 56 Metascore
    • 50 Michael Sragow
    The talented and quirky-pretty Sarah Jessica Parker gives an excruciating performance. It's a keenly self-conscious caricature - the bold, showy kind that often wins awards yet sends audiences running from the theater.
    • 72 Metascore
    • 50 Michael Sragow
    Johansson bequeaths the welcome sight of a talent in full bloom to this wilted, dark whimsy of a movie.
    • 35 Metascore
    • 50 Michael Sragow
    This movie proves to be the year's most anti-romantic comedy.
    • 63 Metascore
    • 50 Michael Sragow
    Bubble is the moviemaking equivalent of the worst narrative journalism. Every bit of "human interest" is so painstakingly planted, so determined to be applauded for its observation and sensitivity, it ends up seeming as slick and bogus as the worst Hollywood blockbuster.
    • 38 Metascore
    • 50 Michael Sragow
    Even the cartoon Pink Panther in the credits seems off - at once too glitzy and too fey, more Peter Allen than Pink Panther.
    • 65 Metascore
    • 50 Michael Sragow
    Find Me Guilty flat-lines early.
    • 45 Metascore
    • 50 Michael Sragow
    Weitz's idea of satire is generally both ludicrous and mild: exaggerating types, then sentimentalizing them.
    • 46 Metascore
    • 50 Michael Sragow
    Lacks suspense, momentum and visual panache.
    • 33 Metascore
    • 50 Michael Sragow
    Despite the tenderness between them, Rose and her perfect younger man have the sickest mother-son relationship since Angela Lansbury and Laurence Harvey in "The Manchurian Candidate" - and Mikey seems just as brainwashed.
    • 48 Metascore
    • 50 Michael Sragow
    Rather than providing flashes of one-of-a-kind humor, Allen has reached the point where his critical and movie-going fans are humoring him.
    • 57 Metascore
    • 50 Michael Sragow
    Confetti overdraws on an audience's generosity.
    • 75 Metascore
    • 50 Michael Sragow
    Instead of being supple and expansive like the book, this Little Children is heavy-handed and snarky.
    • 68 Metascore
    • 50 Michael Sragow
    It bears roughly the same resemblance to the Bennett Miller-Dan Futterman-Philip Seymour Hoffman masterpiece as the now-forgotten "Valmont" did to "Dangerous Liaisons."
    • 55 Metascore
    • 50 Michael Sragow
    No matter how "mock" this epic gets, it isn't mock enough. The "D" in the title must stand for dead weight.
    • 89 Metascore
    • 50 Michael Sragow
    Even with the great Ken Watanabe lending command and compassion to the role of General Kuribayashi, it's a formless slog across a treacherous field.
    • 70 Metascore
    • 50 Michael Sragow
    In Curse of the Golden Flower, Zhang Yimou tries to top the breathtaking poetic spectacle of his masterpiece, "House of Flying Daggers," and instead plummets into self-parody.
    • 43 Metascore
    • 50 Michael Sragow
    It's not a comedy-drama, really. It's let's-all-share therapy in beautiful Boulder, Colo.
    • 35 Metascore
    • 50 Michael Sragow
    Most of the movie makes too much sense and is no fun at
    • 49 Metascore
    • 50 Michael Sragow
    Despite the nice touches at the corners, the center does not hold. In I Think I Love My Wife, there's too much emphasis on the Think.
    • 49 Metascore
    • 50 Michael Sragow
    Even the title is off. I haven't heard an honest "Lucky You" since I was in sixth grade. For most people it registers as a sneer.
    • 45 Metascore
    • 50 Michael Sragow
    Costner succumbs to terminal self-seriousness when he makes a movie of his own either as the director or, in this case, a producer.
    • 64 Metascore
    • 50 Michael Sragow
    The movie is edited and, worse, narrated in ways that sabotage the magic and even undercut the movie's message.
    • 55 Metascore
    • 50 Michael Sragow
    Becoming Jane isn't just a soap opera - it's a soft-soap opera.
    • 46 Metascore
    • 50 Michael Sragow
    "Everybody loved him. One woman understood him," goes the ad line. But the movie makes you wonder how anyone could love this screw-up and why anyone would have a problem understanding him.
    • 44 Metascore
    • 50 Michael Sragow
    It's actually surprising that Chan is as engaging as he is. He's a canny performer in a canned-goods movie.
    • 46 Metascore
    • 50 Michael Sragow
    Reading this book and watching this movie, as with "The Devil Wears Prada" a year earlier, I'm convinced that chick-lit books are formula - and chick-lit movies are baby formula.
    • 63 Metascore
    • 50 Michael Sragow
    Stripped of texture, even the sharpest comments come off as bromides.
    • 82 Metascore
    • 50 Michael Sragow
    Eastern Promises is intensely anti-dramatic.
    • 41 Metascore
    • 50 Michael Sragow
    Borders on poppycock.
    • 56 Metascore
    • 50 Michael Sragow
    The whole thing turns into trash with flash.
    • 51 Metascore
    • 50 Michael Sragow
    The final half-hour is like the not-so-grand finale for a silly-sticky sitcom. It's a college-town “Friends” with an unearned doctorate.
    • 39 Metascore
    • 50 Michael Sragow
    As overstated and expository as a historical pageant, from the drippy music to a sputtering, running gag involving funky old jalopies to cliched speeches and teary-eyed deaths and a final voice-over crying out for peace. Why not add a song score and an exclamation mark in the title?
    • 55 Metascore
    • 50 Michael Sragow
    Painfully boring.
    • 63 Metascore
    • 50 Michael Sragow
    This movie asks us to "accept the good" in life - not a bad message. But to overpraise Things We Lost in the Fire would be to accept the mediocre.
    • 47 Metascore
    • 50 Michael Sragow
    The problem with Lions for Lambs isn't its political engagement but its cinematic disengagement. Robert Redford directs and stars in this ambitious talkathon, which would have been more effective as a radio play.
    • 73 Metascore
    • 50 Michael Sragow
    If any man should be more than the sum of his parts, it's an artist. But Todd Haynes' I'm Not There makes Bob Dylan less than the sum of his parts. It's like a tony art-school parlor game.
    • 58 Metascore
    • 50 Michael Sragow
    The Mist contains nary a dollop of wit and irony. As adapted and directed by Frank Darabont, there's no ambiguity either.
    • 65 Metascore
    • 50 Michael Sragow
    The credits list a couple of dozen medical and scientific consultants. What this film really needed was a script doctor.
    • 48 Metascore
    • 50 Michael Sragow
    I found the sight of McAvoy as a piano player in jazzy-seedy duds a lot more disconcerting than Ricci's porcine prosthesis.
    • 55 Metascore
    • 50 Michael Sragow
    By the time it reaches its supposedly crowd-pleasing finale, Baby Mama may have self-respecting comedy fans (and even Tina Fey fans) crying uncle.
    • 56 Metascore
    • 50 Michael Sragow
    This whole movie has zero chemistry. Broderick and Hunt are a match made in hell; Firth and Hunt are a match made in limbo.
    • 37 Metascore
    • 50 Michael Sragow
    It's a family film done as a trip film. It is a trip, but it's a bad trip.
    • 51 Metascore
    • 50 Michael Sragow
    Rarely has appalling, reckless behavior been so soporific as in Savage Grace.
    • 43 Metascore
    • 50 Michael Sragow
    More palatable than "Norbit" but equally uninspired, Murphy's benign, pedestrian Meet Dave mostly gives us "Mr. Ed," with a bit of Crazy Eddie mixed in.
    • 82 Metascore
    • 50 Michael Sragow
    A handsome, accomplished piece of work, but it drove me from absorption to excruciation within 20 minutes, and then it went on for two hours more.
    • 63 Metascore
    • 50 Michael Sragow
    With all the good will in the world, I couldn't warm up to Kit Kittredge. The movie is like a 1930s or 1940s short about Americans pulling together, stretched out to feature length.
    • 47 Metascore
    • 50 Michael Sragow
    The whole enterprise suffers from tired blood.
    • 64 Metascore
    • 50 Michael Sragow
    Jarrold's reduction of the story is so archetypal that it's indistinguishable from soap opera.
    • 56 Metascore
    • 50 Michael Sragow
    Bottle Shock wastes that intriguing bit of history and some seductive Napa Valley settings on a bland script that's part period piece, part underdog fable.
    • 52 Metascore
    • 50 Michael Sragow
    This fourth "Terminator" film is the ultimate heavy-metal parody. Better make that travesty, because there are next to no moments of comedy.
    • 58 Metascore
    • 50 Michael Sragow
    The movie leaves you in an awful tangle of amazement and disbelief: Amazement that Tuvia Bielski did turn a group of civilians into a nimble fighting force and a commune that could defend itself, but disbelief at his accomplishment's stagey and banal rendering.
    • 62 Metascore
    • 50 Michael Sragow
    The problem isn't the history that the filmmakers leave in, but how much they leave out.
    • 56 Metascore
    • 50 Michael Sragow
    The movie is mainly geared to putting new twists on what John Hughes comedies used to call "sucking face." It will satisfy Meyer's devotees.
    • 57 Metascore
    • 50 Michael Sragow
    High School Musical 3 wore me out, but I'm not the target audience. My favorite high school musical was "Hamlet 2."
    • 67 Metascore
    • 50 Michael Sragow
    As the movie rambles along with its own brand of quasi-magical surrealism, the links to real experience grow scarcer and more frayed.
    • 55 Metascore
    • 50 Michael Sragow
    I found the movie impossibly basic and sanitized as a "never again" parable of the Final Solution - and simply wrongheaded as a story about children.
    • 68 Metascore
    • 50 Michael Sragow
    The problem with Doubt is its dramatic certainty.
    • 64 Metascore
    • 50 Michael Sragow
    Che
    The title and length suggest a biographical epic, but it's neither biographical nor epic. It's as if the director, Steven Soderbergh, wanted to take tissue samples of Ernesto Che Guevara's political life.
    • 46 Metascore
    • 50 Michael Sragow
    This picture evaporates midway through because the story itself is a one-liner. Yet it also has a cast that gets into the silliness.
    • 57 Metascore
    • 50 Michael Sragow
    This movie is genial, forgettable piffle about the perhaps-beginning of a maybe affair. It's a romantic daydream so slim that it barely leaves the requisite sweet aftertaste.
    • 56 Metascore
    • 50 Michael Sragow
    Valkyrie's political and military subjects may have sounded like sure-fire thriller material. Wilkinson alone proves that a suspense film thrives on intriguing characters struggling to survive. Nothing in Valkyrie is as compelling as watching tides of calculation crash across Wilkinson's face.
    • 43 Metascore
    • 50 Michael Sragow
    The whole thrust of the movie is to warn black women against emasculating their men.
    • 63 Metascore
    • 50 Michael Sragow
    Yet it's pretty in all the wrong ways: pretty slight, pretty preachy and pretty affected.
    • 48 Metascore
    • 50 Michael Sragow
    Unlike Nicolas Cage in "National Treasure," Hanks lacks the game for it. The surface seriousness of these Dan Brown movies obstructs his affability and easy, attentive way with romance.
    • 41 Metascore
    • 50 Michael Sragow
    Knowing offers mumbo jumbo on an apocalyptic scale.
    • 33 Metascore
    • 50 Michael Sragow
    You have to be willing to take a lot of punishment for a few good scares.
    • 41 Metascore
    • 50 Michael Sragow
    The movie could use less romantic boo-hoo-hoo and more Bunuel: It's engaging whenever Bunuel acts as ringleader or troublemaker, even when he's blustery and piggish.
    • 32 Metascore
    • 50 Michael Sragow
    Since that gifted, attractive performer is Hayden Panettiere, who has already won a wide following for "Heroes," it's a wonder that the studio hasn't been more heavily promoting her appearance in this decent, genial youth comedy. After all, she does play, ah, Beth Cooper.
    • 50 Metascore
    • 50 Michael Sragow
    You should have been able to treat this film as a grab-bag and pull out some plums. Instead it goes grabbing after you.
    • 81 Metascore
    • 50 Michael Sragow
    It's a bad joke that District 9 will be hailed for its "originality."
    • 51 Metascore
    • 50 Michael Sragow
    A bit like a real-world horror film with "heart," right down to the trick ending.
    • 55 Metascore
    • 50 Michael Sragow
    Any chance to generate atmosphere or sustained comedy and melodrama goes down the tubes, often literally.
    • 47 Metascore
    • 50 Michael Sragow
    It might be a solid hook if we thought their love was grand. Instead, it's kind of creepy.
    • 47 Metascore
    • 50 Michael Sragow
    The one perfect aspect of Jennifer's Body is its title: No one is going to like this movie for its brain.
    • 79 Metascore
    • 50 Michael Sragow
    All the Coens come up with is a movie about bad things happening to limited people.
    • 69 Metascore
    • 50 Michael Sragow
    New York critics have anointed Crash in advance as the Second Coming, but it's just another over-ambitious first movie.
    • 53 Metascore
    • 42 Michael Sragow
    In the movie, the unconverted will hold their ears as the banal tunes blare out in multichannel sound. And they'll wince as the camera closes in on every heart-tugging moment.
    • 44 Metascore
    • 42 Michael Sragow
    But by the end, you're only watching to see how far Wilmot's pustules will spread, or whether his various diseases will really make his nose fall off.
    • 74 Metascore
    • 42 Michael Sragow
    Munich is so broad-stroke it cuts itself at every turn. It's also a thoroughly lifeless movie.
    • 53 Metascore
    • 42 Michael Sragow
    It aims for outlandish and athletic love lyrics and instead achieves all the potency of a makeshift nonsense song banged out on a toy lyre.
    • 37 Metascore
    • 42 Michael Sragow
    Everyone from the ensemble appears to be acting in a different picture. Zaillian strands them all.
    • 44 Metascore
    • 42 Michael Sragow
    This may be Thornton's most arch, least persuasive performance. With Heder he's a vacant scowl. With Barrett he's a threatening yet toothless Cheshire Cat.
    • 79 Metascore
    • 42 Michael Sragow
    Flags of Our Fathers fails as fact or legend. It's woefully incompetent as narrative moviemaking.
    • 68 Metascore
    • 42 Michael Sragow
    But even those who succumb to his primitive, survivalist vision may resent the way he presents every kind of atrocity at least twice without illuminating any of the exotic details once.
    • 27 Metascore
    • 42 Michael Sragow
    Now we get a lazy Eddie in Norbit, a lackluster attempt to make a gross-out romantic comedy. When I say lazy Eddie, I mean imaginatively lazy.
    • 27 Metascore
    • 42 Michael Sragow
    Wild Hogs puts the "ick" into City Slickers.
    • 55 Metascore
    • 42 Michael Sragow
    If Pride had concentrated on a gifted coach's teaching and training techniques, it might have been a contender. Instead, all the overheated melodrama evaporates our rooting interest.
    • 45 Metascore
    • 42 Michael Sragow
    There hasn't been so much pea soup spit onscreen since "The Exorcist."
    • 46 Metascore
    • 42 Michael Sragow
    This Heartbreak Kid makes the mistake of trying to be semi-heartwarming.
    • 45 Metascore
    • 42 Michael Sragow
    The best you can say about Owen is that no actor has looked better in thigh-high boots and puffed-out britches.
    • 59 Metascore
    • 42 Michael Sragow
    The plotting is so rickety that the action hinges on suspicions roused by a character carrying a cigarette lighter and matches. Is that more rare or suspect than a man wearing a belt and suspenders?
    • 59 Metascore
    • 42 Michael Sragow
    Owing more to the sword-and-sex-play fantasies of 12-year-olds than the traditions of Old English poetry, Robert Zemeckis' Beowulf will allow adolescents to have their cheesecake - and beefcake - and eat it, too.
    • 92 Metascore
    • 42 Michael Sragow
    Anderson and Day-Lewis strip themselves of their natural talents for invention and poetry, as if any hint of romance, nobility or fun would soften the film.
    • 52 Metascore
    • 42 Michael Sragow
    This movie doesn't have a mean bone in its body; the problem is, it doesn't have any bone in its body.
    • 50 Metascore
    • 42 Michael Sragow
    This rendering of the turbulent second marriage of England's King Henry VIII proves too heavy-footed for the old movie two-step of setting up a morality tale, then exploiting it for heat and titillation.
    • 55 Metascore
    • 42 Michael Sragow
    You begin yearning for more cuteness from the anthropomorphic animals: a pelican, a sea lion and, best of all, a bearded dragon lizard. They're a lot more amusing than Foster, who pours on the angst.
    • 45 Metascore
    • 42 Michael Sragow
    This movie is a case of arthouse bait and switch. Its true subject is one decent Yank's desire to believe that Everyman and Everywoman - Everywhere! - are as warm and amiable as your average American Joe: him, Morgan Spurlock, the regular guy as fearless globetrotter.
    • 53 Metascore
    • 42 Michael Sragow
    Sex and the City, as a film, is a testament to bad faith. It wants its characters to eat their wedding cake and have it, too.
    • 34 Metascore
    • 42 Michael Sragow
    Shyamalan has said he wanted to create the best B-movie ever made, but it fails to be the best C movie of the month. (Stuck or Zohan are better C movies.)
    • 24 Metascore
    • 42 Michael Sragow
    Newcomers to the Mike Myers experience will leave this love train early.
    • 64 Metascore
    • 42 Michael Sragow
    As an action comedy, it's just a bad trip.
    • 51 Metascore
    • 42 Michael Sragow
    Like a party where everyone is so desperate to have a good time that it makes you miserable.
    • 31 Metascore
    • 42 Michael Sragow
    It's like an Indiana Jones movie without rhythm, wit or personality, just a desperate, headlong pace.
    • 25 Metascore
    • 42 Michael Sragow
    I managed to get through the biker extravaganza Hell Ride, a narcissistic piece of soft-core porn and macho camp, by mashing it together in my mind with the equally woeful, family-friendly biker comedy "Wild Hogs." After all, both are full of hellions gone to seed.
    • 43 Metascore
    • 42 Michael Sragow
    The movie version of Love in the Time of Cholera doesn't have the drive or the dynamism to be an artistic nightmare. It's more like a dead dream, the kind that leaves nothing more behind in the light of day than a sickly cloud.
    • 37 Metascore
    • 38 Michael Sragow
    Bad Company is about an undercover brother, but it will never be confused with "Undercover Brother."
    • Baltimore Sun
    • 62 Metascore
    • 38 Michael Sragow
    Made is an amateur-hour buddy movie.
    • Baltimore Sun
    • 34 Metascore
    • 38 Michael Sragow
    The surprise behind Town and Country isn't that the director started filming without a finished script, but that he ever thought he had the start of one.
    • 42 Metascore
    • 38 Michael Sragow
    The movie gives us a time machine that resembles a twin-engined Mixmaster and a script that was tossed together inside one.
    • 48 Metascore
    • 38 Michael Sragow
    A one-joke movie. What makes it misfire is that its one joke clashes with its one idea.
    • Baltimore Sun
    • 54 Metascore
    • 38 Michael Sragow
    A visionary sort of horror movie should ponder three words: "Bram Stoker's Dracula."
    • Baltimore Sun
    • 45 Metascore
    • 38 Michael Sragow
    As a spy film, The Sum of All Fears is flaccid, and as an expose of nuclear threats, there's not enough information.
    • 43 Metascore
    • 38 Michael Sragow
    It's a mishmash of "The Bridge on the River Kwai," "From Here to Eternity" and "The Great Escape," with everything complex and entertaining siphoned off.
    • 58 Metascore
    • 38 Michael Sragow
    The Safety of Objects is just another stilted comic-dramatic essay examining the mold in the white bread.
    • 67 Metascore
    • 38 Michael Sragow
    You won't believe the story director George Clooney and his goofball TV host are trying to sell. Really.
    • 67 Metascore
    • 38 Michael Sragow
    Without Duvall, this movie would be as wet as Waterworld.
    • 38 Metascore
    • 38 Michael Sragow
    Maybe this is a psychological thriller after all: Every thinking member of the audience will be driven insane.
    • 49 Metascore
    • 38 Michael Sragow
    Because this Four Feathers is an utter botch, it might make savvy viewers feel that the subject matter is hopeless.
    • 73 Metascore
    • 38 Michael Sragow
    Isn't serious enough to fulfill its ambitions, or funny enough to compensate for its failures.
    • Baltimore Sun
    • 59 Metascore
    • 38 Michael Sragow
    Shyamalan plows the same old ground of juiced-up surprise endings.
    • 48 Metascore
    • 38 Michael Sragow
    xXx
    The movie's own style is strictly an anti-style, all pre-packaged post-punk.
    • 36 Metascore
    • 38 Michael Sragow
    However you pronounce Bythewood -- I assume it's by-the-wood -- his work here is strictly by the numbers.
    • 52 Metascore
    • 38 Michael Sragow
    Despite these flaws, people sick of gross-out films and teen-sex comedy may be so hungry for farce that they laugh.
    • 23 Metascore
    • 38 Michael Sragow
    It has graceful layers and folds and a nice swing to it, and Jackson moves superbly in it. Unfortunately, I'm talking about the kilt, not the movie.
    • 34 Metascore
    • 38 Michael Sragow
    The unearned air of moralism that wafts through 15 Minutes pollutes its entertainment value.
    • 25 Metascore
    • 38 Michael Sragow
    Manipulates the audience.
    • 52 Metascore
    • 38 Michael Sragow
    The film is hapless. The gap between the moviemakers' ambition and their wit is dizzying. It's as if they thought they were filming The Importance of Being Unimportant.
    • 55 Metascore
    • 38 Michael Sragow
    A mistaken message is a price a filmmaker pays when he tries to load weighty themes like the cycle of violence on an overgrown boy who scoots around on a bicycle.
    • 64 Metascore
    • 38 Michael Sragow
    8 Women would probably be a looser, giddier salute to show-biz ideas of femininity if it were performed by eight drag queens.
    • Baltimore Sun
    • 45 Metascore
    • 38 Michael Sragow
    Plays like Abbott and Costello Meet Conan the Barbarian.
    • 45 Metascore
    • 38 Michael Sragow
    And Witherspoon? She does the American equivalent of a mechanical British performance: She hits every note too perfectly. There's no shadow to her smile.
    • 25 Metascore
    • 38 Michael Sragow
    Like Adam Sandler's "Mr. Deeds," this is a hybrid, hipster-cornball movie that wants to celebrate common folk but unapologetically uses words like "trailer trash" to describe them.
    • 54 Metascore
    • 38 Michael Sragow
    Rock Star neither touches a raw nerve nor garners any resonance as a period piece. You'd be better off renting "This is Spinal Tap."
    • 65 Metascore
    • 38 Michael Sragow
    Ends up neither fish nor fowl. It's a misanthrope's "E.T."
    • Baltimore Sun
    • 58 Metascore
    • 38 Michael Sragow
    If it worked, The Fast and the Furious would put viewers in the same position as the policeman protagonist, attracted to speed but appalled by crime. Instead it sentences you to an hour and a half in a high-decibel limbo.
    • 30 Metascore
    • 38 Michael Sragow
    The movie goes awry from the opening shots.
    • 45 Metascore
    • 38 Michael Sragow
    S.W.A.T. may be an acronym for Special Weapons and Tactics, but by the end of this routine melodrama, it might as well stand for Standard Whacking and Trashing.
    • 55 Metascore
    • 38 Michael Sragow
    It's not hell, but limbo, junior high-school style.
    • 78 Metascore
    • 38 Michael Sragow
    Nolan pushes the twilight-zone atmosphere so hard that it loses its capacity for mystery. When it's not assaulting us with jolting audiovisual expressions of fatigue, this movie plays like a pedestrian response to David Lynch's effortlessly eerie "Twin Peaks."
    • 30 Metascore
    • 38 Michael Sragow
    Pious, high-minded and bad history.
    • 30 Metascore
    • 38 Michael Sragow
    How does an embarrassment of riches turn into mere embarrassment?
    • 38 Metascore
    • 38 Michael Sragow
    The apotheosis of adolescent junk. Every sequence spews or splats carnage-filled effects. It's over-the-top, but not pleasurably so -- it's calculatedly over-the-top. The only way to get off on it is to revel in its prodigal waste of materiel.
    • 70 Metascore
    • 38 Michael Sragow
    A hollow excuse for an erotic mystery.
    • 32 Metascore
    • 38 Michael Sragow
    Too bad this movie is more tepid than the average Snipes potboiler and even rustier than his mindless Blade pictures.
    • Baltimore Sun
    • 84 Metascore
    • 38 Michael Sragow
    It's the oddest case yet of the Emperor's New Clothes. After all, the Emperor in the fairy tale was naked. This movie has tons of fabulous clothing. The people disappear within their wardrobes.
    • 80 Metascore
    • 38 Michael Sragow
    The dramatic content in Memento is as blank as Leonard's post-traumatic mental state.
    • Baltimore Sun
    • 64 Metascore
    • 38 Michael Sragow
    American art movies rarely come fancier or emptier than Northfork, a down-home arabesque made of angel fluff.
    • 56 Metascore
    • 38 Michael Sragow
    Needs a story.
    • 43 Metascore
    • 38 Michael Sragow
    Wonderland marks a "biopic" first: Moviegoers will know less about the real-life subject going out than they did going in.
    • 56 Metascore
    • 38 Michael Sragow
    Never persuasively dramatize the agony, ecstasy and intricacy of composing poetry. Without that aesthetic component, all you see is that Plath's hunger for life couldn't compete with her death wish.
    • 32 Metascore
    • 38 Michael Sragow
    Beyond Borders keeps angling for a peace prize; it might have won more hearts and minds if it came together as a movie.
    • 73 Metascore
    • 38 Michael Sragow
    The result is a flabby, episodic phantasmagoria.
    • 44 Metascore
    • 38 Michael Sragow
    In this movie, when the honeymoon is over it's really over.
    • 45 Metascore
    • 38 Michael Sragow
    What's wrong with Latter Days is that its banter is pedestrian and its lessons forced.
    • 47 Metascore
    • 38 Michael Sragow
    Gibson mounts a convincing crucifixion, but his victim is the audience. The Passion of the Christ aims its metallic cat-o'-nine-tails at the viewers' nerves.
    • 38 Metascore
    • 38 Michael Sragow
    The serial-killer thriller of the week, should have gotten a life of its own instead of trying to steal it from Michael Pye's novel of the same name and several other movies.
    • 56 Metascore
    • 38 Michael Sragow
    Hanks tries his hand at a king-size heartless comic role, and flubs it terribly. He looks slack and pasty and, what's worse, sounds slack and pasty.
    • 38 Metascore
    • 38 Michael Sragow
    Failed marital farce.

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