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 4.4 points higher than other critics. (0-100 point scale)

Michael Sragow's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Twisted
Lowest review score: 0 Death Race
Score distribution:
1,035 movie reviews
    • 48 Metascore
    • 38 Michael Sragow
    As a romance, Spanglish is like a wholesome flirt who drags things out and becomes a tiresome tease. As a satire of upper-middle-class Los Angeles, it's a disaster.
    • 56 Metascore
    • 38 Michael Sragow
    W.
    The movie plays like a dunk-the-clown game at a carnival. Through intent or ineptitude, he sets up the Bush family and administrations as caricatures.
    • 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.
    • 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.
    • 67 Metascore
    • 38 Michael Sragow
    Without Duvall, this movie would be as wet as Waterworld.
    • 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.
    • 58 Metascore
    • 38 Michael Sragow
    The Safety of Objects is just another stilted comic-dramatic essay examining the mold in the white bread.
    • 62 Metascore
    • 38 Michael Sragow
    Made is an amateur-hour buddy movie.
    • Baltimore Sun
    • 80 Metascore
    • 38 Michael Sragow
    The dramatic content in Memento is as blank as Leonard's post-traumatic mental state.
    • Baltimore Sun
    • 30 Metascore
    • 38 Michael Sragow
    How does an embarrassment of riches turn into mere embarrassment?
    • 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.
    • 55 Metascore
    • 38 Michael Sragow
    It's hard to know what these stars are ready for after this fiasco. Maybe a fitness video.
    • 30 Metascore
    • 38 Michael Sragow
    Pious, high-minded and bad history.
    • 34 Metascore
    • 38 Michael Sragow
    Forget chemistry: There's no biology to the star casting.
    • 58 Metascore
    • 38 Michael Sragow
    You don't want to look at anything else when Zeta-Jones is on-screen.
    • 69 Metascore
    • 38 Michael Sragow
    There's no irony within the film, but there's a whopping irony surrounding it. Just as Star Wars has finally ended, Rocky seems to be starting all over again.
    • 25 Metascore
    • 38 Michael Sragow
    Manipulates the audience.
    • 48 Metascore
    • 38 Michael Sragow
    xXx
    The movie's own style is strictly an anti-style, all pre-packaged post-punk.
    • 57 Metascore
    • 38 Michael Sragow
    Roos suffers from fallen archness in his interminable new movie Happy Endings. He wants to be mischievous and ambitious and "human," all at the same time. He ends up with delusions of tragicomic grandeur that leave an audience fed up and dissatisfied.
    • 73 Metascore
    • 38 Michael Sragow
    The Hangover is like an infernal comedy machine. Surrender your soul to its foul mesh of cheap cleverness and vulgarity. and you howl like a delighted demon. Resist, and you feel all sense and sensibility being crushed in its cogs.
    • 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.
    • 53 Metascore
    • 38 Michael Sragow
    This new version may be closer to the Cole Porter biography, but it's hardly any more true to life. There is no life in this movie. It's a brittle contraption of a biopic.
    • 73 Metascore
    • 38 Michael Sragow
    The result is a flabby, episodic phantasmagoria.
    • 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."
    • 27 Metascore
    • 38 Michael Sragow
    This Women doesn't take place in reality or even in a glamorous urban fantasyland. It's strictly TV Land.
    • 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.
    • 38 Metascore
    • 38 Michael Sragow
    By the end, this movie's balancing act is the equivalent of network news' equal-time laws. The "fairness" becomes deadening.
    • 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
    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.
    • 56 Metascore
    • 38 Michael Sragow
    Needs a story.

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