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

Michael Sragow's Scores

  • Movies
Average review score: 64
Highest review score: 100 The Simpsons Movie
Lowest review score: 0 Margot at the Wedding
Score distribution:
1,035 movie reviews
    • 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.
    • 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."
    • 73 Metascore
    • 38 Michael Sragow
    Isn't serious enough to fulfill its ambitions, or funny enough to compensate for its failures.
    • 73 Metascore
    • 38 Michael Sragow
    The result is a flabby, episodic phantasmagoria.
    • 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.
    • 72 Metascore
    • 38 Michael Sragow
    It's no compliment to say a movie is "all of a piece" if the piece is all worn out. For all its surface harshness, this movie is a star vehicle at once rickety and cozy.
    • 70 Metascore
    • 38 Michael Sragow
    A hollow excuse for an erotic mystery.
    • 70 Metascore
    • 25 Michael Sragow
    You have to identify pretty strongly with suffering artistes to find anything to root for in The Science of Sleep.
    • 70 Metascore
    • 25 Michael Sragow
    The film itself is an exercise in frustration.
    • 69 Metascore
    • 38 Michael Sragow
    The only hope for Inglourious Basterds is that audiences will embrace it the way the Broadway crowd did "Springtime for Hitler": because it's so bad they think it's good.
    • 69 Metascore
    • 38 Michael Sragow
    Revolutionary Road isn't just a failed literary adaptation. It's a failure of the worst kind: It doesn't even make you want to read Richard Yates' deservedly legendary book.
    • 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.
    • 67 Metascore
    • 38 Michael Sragow
    Without Duvall, this movie would be as wet as Waterworld.
    • 67 Metascore
    • 38 Michael Sragow
    You won't believe the story director George Clooney and his goofball TV host are trying to sell. Really.
    • 66 Metascore
    • 0 Michael Sragow
    Margot at the Wedding is a Christmas gift for high-class depressives: a compendium of malaise fit for an L.L. Bean catalog.
    • 65 Metascore
    • 38 Michael Sragow
    Ends up neither fish nor fowl. It's a misanthrope's "E.T."
    • 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.
    • 64 Metascore
    • 38 Michael Sragow
    American art movies rarely come fancier or emptier than Northfork, a down-home arabesque made of angel fluff.
    • 64 Metascore
    • 38 Michael Sragow
    If you put the word Tired first, it would perfectly describe the movie.
    • 62 Metascore
    • 38 Michael Sragow
    Made is an amateur-hour buddy movie.
    • 62 Metascore
    • 25 Michael Sragow
    Takes a literary milestone of ambiguity and makes everything about it blisteringly obvious.
    • 62 Metascore
    • 25 Michael Sragow
    It's the strangest comic misfire yet from Wes Anderson.
    • 59 Metascore
    • 38 Michael Sragow
    Shyamalan plows the same old ground of juiced-up surprise endings.
    • 58 Metascore
    • 38 Michael Sragow
    The Safety of Objects is just another stilted comic-dramatic essay examining the mold in the white bread.
    • 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.
    • 58 Metascore
    • 38 Michael Sragow
    You don't want to look at anything else when Zeta-Jones is on-screen.
    • 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.
    • 56 Metascore
    • 25 Michael Sragow
    Perfume offers eau de crud.
    • 56 Metascore
    • 38 Michael Sragow
    The film's storytelling and image-making lack originality and vitality. Nothing sticks to your memory unless you come in with recollections of the book.