Michael Sragow

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For 1,039 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 2.4 points higher than other critics. (0-100 point scale)

Michael Sragow's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Heading South
Lowest review score: 0 CJ7
Score distribution:
1039 movie reviews
    • 48 Metascore
    • 50 Michael Sragow
    Director Gillian Armstrong drains all the emotional energy out of the people who dot her movie's lovely landscape.
    • 48 Metascore
    • 50 Michael Sragow
    The real obstacle here is a lack of filmmaking imagination.
    • 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.
    • 48 Metascore
    • 50 Michael Sragow
    It's hard to see Franklin's fingerprints on the material. It's as if he directed with his gloves on.
    • 48 Metascore
    • 50 Michael Sragow
    The lack of condescension is the movie's saving grace, if grace is the right word. There's no snobbery to the low-blow humor, or to Reynolds' low-key, genial comeback turn, or to Sandler's more-ingratiating-than-athletic lead performance.
    • 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.
    • 48 Metascore
    • 50 Michael Sragow
    As for the Ya-Yas: They're not as much fun as the First Wives' Club.
    • Baltimore Sun
    • 48 Metascore
    • 58 Michael Sragow
    A strictly by-the-book sequel: It doesn't cheat series fans but it doesn't offer many thrills or surprises or lingering puzzles, either.
    • 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.
    • 47 Metascore
    • 50 Michael Sragow
    The Matrix Revolutions blends feather-brained, starry-eyed camp and rock-'em-sock-'em spectacle -- so it's at least more entertaining than the second Matrix film, which hung in the air like a noxious cloud.
    • 47 Metascore
    • 50 Michael Sragow
    The one perfect aspect of Jennifer's Body is its title: No one is going to like this movie for its brain.
    • 47 Metascore
    • 50 Michael Sragow
    The problem with Lions for Lambs isn't its political engagement but its cinematic disengagement. Robert Redford directs and stars in this ambitious talkathon, which would have been more effective as a radio play.
    • 47 Metascore
    • 50 Michael Sragow
    Hasn't got quite the right sound as it did in Annie Proulx's novel.
    • Baltimore Sun
    • 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.
    • 47 Metascore
    • 50 Michael Sragow
    It might be a solid hook if we thought their love was grand. Instead, it's kind of creepy.
    • 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.
    • 47 Metascore
    • 50 Michael Sragow
    The whole enterprise suffers from tired blood.
    • 47 Metascore
    • 50 Michael Sragow
    There are the gadgets and the effects. But Cats and Dogs definitely could have been more fetching.
    • Baltimore Sun
    • 47 Metascore
    • 50 Michael Sragow
    Too bad it doesn't deserve to fold the bedsheets of Paul Mazursky's L.A. roundelay "Bob & Carol & Ted & Alice" (1969).
    • 46 Metascore
    • 50 Michael Sragow
    Reading this book and watching this movie, as with "The Devil Wears Prada" a year earlier, I'm convinced that chick-lit books are formula - and chick-lit movies are baby formula.
    • 46 Metascore
    • 50 Michael Sragow
    Plays like a remake - not of "Knights of the Round Table" (1953) but of director Antoine Fuqua's previous "Tears of the Sun" (2003).
    • 46 Metascore
    • 50 Michael Sragow
    Lacks suspense, momentum and visual panache.
    • 46 Metascore
    • 50 Michael Sragow
    The overarching joke, of course, is that most movies are so lousy they might as well have been made by blind men anyway. Hollywood Ending is only mediocre, but you may leave wondering, what's Allen's excuse?
    • 46 Metascore
    • 50 Michael Sragow
    Overdoes it and falls on its farce.
    • 46 Metascore
    • 50 Michael Sragow
    "Everybody loved him. One woman understood him," goes the ad line. But the movie makes you wonder how anyone could love this screw-up and why anyone would have a problem understanding him.
    • 46 Metascore
    • 50 Michael Sragow
    This picture evaporates midway through because the story itself is a one-liner. Yet it also has a cast that gets into the silliness.
    • 46 Metascore
    • 42 Michael Sragow
    This Heartbreak Kid makes the mistake of trying to be semi-heartwarming.
    • 45 Metascore
    • 42 Michael Sragow
    There hasn't been so much pea soup spit onscreen since "The Exorcist."
    • 45 Metascore
    • 42 Michael Sragow
    This movie is a case of arthouse bait and switch. Its true subject is one decent Yank's desire to believe that Everyman and Everywoman - Everywhere! - are as warm and amiable as your average American Joe: him, Morgan Spurlock, the regular guy as fearless globetrotter.
    • 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.

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