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

Michael Sragow's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Before Sunset
Lowest review score: 0 Death Race
Score distribution:
1,035 movie reviews
    • 81 Metascore
    • 58 Michael Sragow
    A History of Violence is a hollow story from an empty graphic novel.
    • 60 Metascore
    • 58 Michael Sragow
    It's absolutely the classiest big-screen version of chick lit we're ever likely to see. But it still has all the lasting flavor of a Chiclet.
    • 41 Metascore
    • 58 Michael Sragow
    In Stay, the director, Marc Forster, fresh from "Finding Neverland," turns Manhattan into a nightmarish dreamscape and his characters into self-destructive ghosts.
    • 47 Metascore
    • 58 Michael Sragow
    Director Martin Campbell and a quartet of screenwriters dump in everything from the rise of the Confederacy to the development of Weapons of Mass Destruction. What escapes them is the cool, clear line of action that would enable Banderas and Zeta-Jones to flaunt their amorous charms without huffing and puffing and stretch their swashbuckling muscles with dash, not balderdash.
    • 61 Metascore
    • 58 Michael Sragow
    The movie mostly proves that cutting-edge humiliations are best absorbed in 25-minute segments on HBO.
    • 58 Metascore
    • 58 Michael Sragow
    Caught up in its own macho symbolism, Jarhead fights a losing battle to show the human cost of warfare.
    • 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.

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