Michael Sragow

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For 1,040 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Michael Sragow's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Pianist
Lowest review score: 0 Ghosts of Girlfriends Past
Score distribution:
1040 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Michael Sragow
    Poses as the story of a wild, eccentric love match but is really about a match made in limbo.
    • 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.
    • 56 Metascore
    • 50 Michael Sragow
    The whole thing turns into trash with flash.
    • 48 Metascore
    • 50 Michael Sragow
    Director Gillian Armstrong drains all the emotional energy out of the people who dot her movie's lovely landscape.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Michael Sragow
    The movie, brief though it is, feels as padded as a travelogue.
    • 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.
    • 63 Metascore
    • 50 Michael Sragow
    The Assassination of Richard Nixon makes Bicke suffer the greatest indignity: it turns him into a relentless bore.
    • 33 Metascore
    • 50 Michael Sragow
    Les Mayfield doesn't know how to stage showdowns and chases so they're exciting or funny.
    • 35 Metascore
    • 50 Michael Sragow
    Up against the wit and teamwork of the sparkling TV original, this lame vehicle sputters and fades.
    • 66 Metascore
    • 50 Michael Sragow
    All Fey does is apply a smattering of wit to the story.
    • 45 Metascore
    • 50 Michael Sragow
    Weitz's idea of satire is generally both ludicrous and mild: exaggerating types, then sentimentalizing them.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Michael Sragow
    The kind of joyless, over-calculated hit that may leave viewers feeling not haunted but headachy.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Michael Sragow
    The whole thrust of the movie is to warn black women against emasculating their men.
    • 70 Metascore
    • 50 Michael Sragow
    Batman Begins is obvious from the get-go - and almost no fun.

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