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 Funny Girl (re-release)
Lowest review score: 0 The Last House on the Left
Score distribution:
1,035 movie reviews
    • 99 Metascore
    • 100 Michael Sragow
    A masterpiece.
    • 98 Metascore
    • 100 Michael Sragow
    With a surgical saw instead of a hatchet, del Toro takes apart patriarchy and opportunistic religion as well as fascism.
    • 98 Metascore
    • 100 Michael Sragow
    It leaves you dazed and sated. Compared to the fast food "eye candy" surrounding it these days, Metropolis is a gourmet 20-course meal.
    • 97 Metascore
    • 100 Michael Sragow
    Without a single gunshot (and just one flick of a switchblade), it turns into an existential suspense film with the highest stakes imaginable: the survival of the human spirit.
    • 96 Metascore
    • 100 Michael Sragow
    Ratatouille is a sublime dish of a movie, and the company's piece de resistance.
    • 94 Metascore
    • 100 Michael Sragow
    A visual masterpiece about a scared little girl's breathtaking journey of self-discovery. All of the fun is getting there.
    • 94 Metascore
    • 100 Michael Sragow
    The least fussy great movie ever made.
    • Baltimore Sun
    • 94 Metascore
    • 100 Michael Sragow
    Killer of Sheep is a miracle movie because it's receiving its first theatrical release 30 years after it was made and because, as a movie, it's miraculous.
    • 94 Metascore
    • 100 Michael Sragow
    The Hurt Locker redefines war-film electricity.
    • 94 Metascore
    • 100 Michael Sragow
    The movie does work, spectacularly.
    • 94 Metascore
    • 100 Michael Sragow
    The movie is a marvel - bold, lucid and succinct (even at 123 minutes). It's also harrowing and moving in its depiction of noncombatant men, women and children caught between terrorism and counter-terrorism.
    • 94 Metascore
    • 100 Michael Sragow
    It rises, all on its own, to the realm of masterwork.
    • 93 Metascore
    • 88 Michael Sragow
    Except for the Mozart music and Tharp movements around the edges, Amadeus plays like a monument to mediocrity. The movie belongs to Salieri.
    • 92 Metascore
    • 100 Michael Sragow
    The Diving Bell and the Butterfly provides an ecstatic lift for movielovers, despite the tragic subject.
    • 92 Metascore
    • 100 Michael Sragow
    The Class ranks with the very best films ever made about teaching, and it's unlike any English or American film about teaching ever made.
    • 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.
    • 92 Metascore
    • 100 Michael Sragow
    A movie masterpiece -- thrilling, passionate and wise.
    • 91 Metascore
    • 75 Michael Sragow
    By all means, buy a ticket to The Fast Runner, but don't go expecting a masterpiece; actually, in its first hour, the dramaturgy and staging of scenes set in igloos are cramped and amateurish.
    • Baltimore Sun
    • 91 Metascore
    • 100 Michael Sragow
    A madcap milestone. Not since Disney's 75-minute Alice In Wonderland (1951) has an animator filled the screen with dazzling flights of random invention that manage to hook up into a swift, brief narrative.
    • 91 Metascore
    • 100 Michael Sragow
    Mirren brings intellect, humor and romance to the role of Elizabeth II.
    • 91 Metascore
    • 100 Michael Sragow
    Views war from the inside out and the outside in. It carries the shock of full disclosure.
    • 91 Metascore
    • 100 Michael Sragow
    No Country for Old Men is about the kind of amoral madness that can sweep across a country and redefine a landscape. It's so admirably lean and sinewy that it deserves not merely a rave review but a Johnny Cash song about matter-of-fact killings in shady hotels and sun-scoured landscapes.
    • 90 Metascore
    • 88 Michael Sragow
    The movie's jabbing originality is what sticks in your memory.
    • 90 Metascore
    • 88 Michael Sragow
    Greengrass and his tremendously smart and emotionally agile lead actor, James Nesbitt, paint their portrait of a good politician without illusion or sentimentality.
    • 90 Metascore
    • 100 Michael Sragow
    It's still the Holy Grail of crazy comedy.
    • 90 Metascore
    • 100 Michael Sragow
    The movie's generosity of spirit and artistry swamps its flaws.
    • 90 Metascore
    • 100 Michael Sragow
    A vibrant emotional epic.
    • 90 Metascore
    • 88 Michael Sragow
    One genuine small triumph of American Splendor is that the title isn't ironic. The movie is a splendid, inventive piece of urban Americana about that hardboiled original, Harvey Pekar.
    • 90 Metascore
    • 88 Michael Sragow
    What a relief to see a movie in which an audience responds with peals of laughter to subtle facial shifts as well as punch lines.
    • 90 Metascore
    • 100 Michael Sragow
    There's no cheap uplift to their victory, no pop catharsis. What's great about United 93 is that you never feel it's just a movie - even though, as a movie, it's terrific.