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 Buffalo Soldiers
Lowest review score: 0 Margot at the Wedding
Score distribution:
1,035 movie reviews
    • 59 Metascore
    • 88 Michael Sragow
    A stinging elegy for lost American dreams.
    • 59 Metascore
    • 67 Michael Sragow
    The film is tense and engrossing. But it lacks exactly what the title advertises: the sense of inexplicable familiarity that should haunt you as the story unfolds and leave you all a-tingle when it ends.
    • 59 Metascore
    • 42 Michael Sragow
    The plotting is so rickety that the action hinges on suspicions roused by a character carrying a cigarette lighter and matches. Is that more rare or suspect than a man wearing a belt and suspenders?
    • 59 Metascore
    • 38 Michael Sragow
    Shyamalan plows the same old ground of juiced-up surprise endings.
    • 59 Metascore
    • 58 Michael Sragow
    It's like a breeze so slight it doesn't leave a tickle.
    • 59 Metascore
    • 63 Michael Sragow
    A smart comedy about a smart blonde -- that would be a sensation. But a dumb comedy about a smart blonde turns out to be not bad.
    • 59 Metascore
    • 63 Michael Sragow
    Even as trick movies go, Confidence feels surfacey to a fault.
    • 59 Metascore
    • 100 Michael Sragow
    Barbershop 2 makes you want to know what happens next. In its own way, it's the Ivory Soap of sequels: 99 and 44/100% pure.
    • 59 Metascore
    • 75 Michael Sragow
    This movie doesn't pretend to be anything more than a cheerful night out, and on that count it scores.
    • 58 Metascore
    • 75 Michael Sragow
    If you have a sneaky taste for the monstrous and a hearty appetite for the outlandish, the pulpy yet engaging Night Watch should leave you merrily sated.
    • 58 Metascore
    • 100 Michael Sragow
    Supple, eloquent and enchanting.
    • 58 Metascore
    • 50 Michael Sragow
    Yet [Smith] can't keep the movie from stopping cold with another hour left to go.
    • 58 Metascore
    • 50 Michael Sragow
    The Mist contains nary a dollop of wit and irony. As adapted and directed by Frank Darabont, there's no ambiguity either.
    • 58 Metascore
    • 67 Michael Sragow
    Whether the entry is good, great or (in this case) indifferent, it's always stimulating to return to the high-flying X-Men series.
    • 58 Metascore
    • 58 Michael Sragow
    Caught up in its own macho symbolism, Jarhead fights a losing battle to show the human cost of warfare.
    • 58 Metascore
    • 50 Michael Sragow
    The movie leaves you in an awful tangle of amazement and disbelief: Amazement that Tuvia Bielski did turn a group of civilians into a nimble fighting force and a commune that could defend itself, but disbelief at his accomplishment's stagey and banal rendering.
    • 58 Metascore
    • 63 Michael Sragow
    It took guts to bring this story to the screen, but at its core it has the wrong stuff.
    • 58 Metascore
    • 63 Michael Sragow
    Many inspirational sports movies provide only junk food for thought; this one contains some authentic reflections of sport in the civil rights era.
    • 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
    • 63 Michael Sragow
    It's a gimcrack assemblage of gags, action scenes, favorite moments from the first hit and diorama-like views of high and low Victorian culture.
    • 58 Metascore
    • 88 Michael Sragow
    This picture boasts a story about a yarn-spinning Southern father (Albert Finney) and a sober-sided son (Billy Crudup) that gives it ballast and staying power beyond anything in previous, precious Burton fables like "Edward Scissorhands" or "Ed Wood."
    • 58 Metascore
    • 91 Michael Sragow
    Ask the Dust is more than an amorous period piece. It's a strongly bitter, strongly sweet poem in prose and motion.
    • 58 Metascore
    • 91 Michael Sragow
    So far in this year's cartoon feature sweepstakes, Shrek the Third rules.
    • 58 Metascore
    • 63 Michael Sragow
    Thanks to Daniel Craig, the most Byronic of 007s, who, with scarcely any help from the filmmakers, manages the astonishing task of rooting an outlandish yet sober-sided movie in reality and bringing it an air of wicked amusement, too.
    • 58 Metascore
    • 63 Michael Sragow
    It's lumpy, odd and tonally all over the place, but its vision gets to you, and its payoff delivers a tough kid's catharsis.
    • 58 Metascore
    • 88 Michael Sragow
    Few directors are able to showcase actors with fast-cutting techniques. Hill is an ace at it because everything about his action is organic.
    • 58 Metascore
    • 75 Michael Sragow
    Jet Li and Bridget Fonda form a terrific bond in this action film. And the choreography adds a nice kick, too.
    • 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.
    • 58 Metascore
    • 63 Michael Sragow
    Maya Rudolph's subtle, lyrical portrait of a patient wife and expectant mother enlivens and elevates Away We Go, an erratic couple-on-a-quest film.
    • 58 Metascore
    • 83 Michael Sragow
    Rambles and sometimes wobbles like a runaway movie. But Schreiber's instincts keep the film frolicsome and vital.
    • 58 Metascore
    • 75 Michael Sragow
    The cascade of ideas proves to be both pleasurable and frustrating. As the movie retreats into a happy-ever-after ending, even its outrageous lies seem more like little white ones.
    • 57 Metascore
    • 63 Michael Sragow
    Combine the title with the image of a dazzling female and a frazzled male, and you've got the movie perfectly.
    • 57 Metascore
    • 63 Michael Sragow
    What we have here is a suburban-legend movie stripped of rough edges and cut off from any depth that might have made it insidiously haunting.
    • 57 Metascore
    • 63 Michael Sragow
    David Hyde Pierce is hilarious as Drix, a take-charge dose of medicine. No performer is better at wringing laughs from an unflappable --- make that semi-flappable - delivery.
    • 57 Metascore
    • 75 Michael Sragow
    Leonardo DiCaprio brings straight-razor reflexes and rooted emotion to the role of a deceptively rugged CIA man.
    • 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.
    • 57 Metascore
    • 67 Michael Sragow
    A third of the way through Smart People, I channeled Randy Newman's "Short People" and thought, "Smart people got no reason to live."
    • 57 Metascore
    • 67 Michael Sragow
    The year's big dramatic gambling hit, 21, is all plot, no personality; The Grand, a comedy that follows six contenders into the finals of a poker tournament, is all personality, no plot. I'll take personality.
    • 57 Metascore
    • 83 Michael Sragow
    Kung fu purists may scoff, but escapists with a sense of humor should romp through The Forbidden Kingdom.
    • 57 Metascore
    • 75 Michael Sragow
    Benton's version of The Human Stain feels under-energized and modest to a fault. Yet it still delivers a genuine sad sting.
    • 57 Metascore
    • 91 Michael Sragow
    It's first-class entertainment for bookish lads and lasses of all ages - and for those who never have or never will crack a paperback's spine. And it might inspire today's nascent artists to open up their sketch-pads as well as their hearts and minds.
    • 57 Metascore
    • 91 Michael Sragow
    Strangers With Candy -- a perfect title -- is filled with straight-faced loonies. It's a nutcake you actually want to eat.
    • 57 Metascore
    • 50 Michael Sragow
    High School Musical 3 wore me out, but I'm not the target audience. My favorite high school musical was "Hamlet 2."
    • 57 Metascore
    • 50 Michael Sragow
    Confetti overdraws on an audience's generosity.
    • 57 Metascore
    • 50 Michael Sragow
    This movie is genial, forgettable piffle about the perhaps-beginning of a maybe affair. It's a romantic daydream so slim that it barely leaves the requisite sweet aftertaste.
    • 57 Metascore
    • 100 Michael Sragow
    Dark Blue is one of those totally happy surprises that moves so quickly and curves so sharply that it leaves this era's hyped critical hits looking like beached whales.
    • 57 Metascore
    • 100 Michael Sragow
    It's exhilarating in an authentic, pathos-streaked way to see Kearns, through Greg Kinnear's inspired characterization of a wary obsessive, representing himself during his trial against Ford Motor Co. for stealing his design.
    • 57 Metascore
    • 91 Michael Sragow
    A lovely, mischievous Casanova that will sweep you off your feet.
    • 56 Metascore
    • 83 Michael Sragow
    Berg doesn't let up on the tension, even when the action is bloodless.
    • 56 Metascore
    • 100 Michael Sragow
    It moves so confidently and brightly that it's ticklish as well as chilling - and, in its own dark way, enthralling.
    • 56 Metascore
    • 25 Michael Sragow
    Perfume offers eau de crud.
    • 56 Metascore
    • 50 Michael Sragow
    The movie is mainly geared to putting new twists on what John Hughes comedies used to call "sucking face." It will satisfy Meyer's devotees.
    • 56 Metascore
    • 58 Michael Sragow
    Disarming, discombobulating and disappointing.
    • 56 Metascore
    • 58 Michael Sragow
    For most of its meandering running time Harsh Times is just a rough South Central L.A. buddy movie.
    • 56 Metascore
    • 50 Michael Sragow
    As a franchise, the James Bond series needs its stomach stapled.
    • 56 Metascore
    • 88 Michael Sragow
    The results are often as surprising as they are funny.
    • 56 Metascore
    • 50 Michael Sragow
    The talented and quirky-pretty Sarah Jessica Parker gives an excruciating performance. It's a keenly self-conscious caricature - the bold, showy kind that often wins awards yet sends audiences running from the theater.
    • 56 Metascore
    • 63 Michael Sragow
    The climax and epilogue are the juiciest, most tough-minded bits in the movie. Too bad Mayer didn't work his way backward from the end.
    • 56 Metascore
    • 75 Michael Sragow
    Cabin Fever may not be a horror classic, but it's definitely an ideal midnight movie.
    • 56 Metascore
    • 88 Michael Sragow
    A near-great British neo-noir, harsh yet hypnotic. Its psychological vortex can suck you in and leave you reeling.
    • 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.
    • 56 Metascore
    • 63 Michael Sragow
    Nearly everything fresh and exciting about the 2002 documentary "Dogtown and Z-Boys" - the story of the Santa Monica-Ocean Park-Venice area misfits who revolutionized skateboarding in the 1970s - becomes studied and secondhand in The Lords of Dogtown.
    • 56 Metascore
    • 75 Michael Sragow
    Feisty and good-humored, and if it doesn't have deep characters, it is chock-full of personality.
    • 56 Metascore
    • 38 Michael Sragow
    Needs a story.
    • 56 Metascore
    • 50 Michael Sragow
    Valkyrie's political and military subjects may have sounded like sure-fire thriller material. Wilkinson alone proves that a suspense film thrives on intriguing characters struggling to survive. Nothing in Valkyrie is as compelling as watching tides of calculation crash across Wilkinson's face.
    • 56 Metascore
    • 38 Michael Sragow
    Never persuasively dramatize the agony, ecstasy and intricacy of composing poetry. Without that aesthetic component, all you see is that Plath's hunger for life couldn't compete with her death wish.
    • 56 Metascore
    • 50 Michael Sragow
    The whole thing turns into trash with flash.
    • 56 Metascore
    • 50 Michael Sragow
    Phone Booth may not be awful, but it's puny.
    • 56 Metascore
    • 38 Michael Sragow
    Hanks tries his hand at a king-size heartless comic role, and flubs it terribly. He looks slack and pasty and, what's worse, sounds slack and pasty.
    • 56 Metascore
    • 63 Michael Sragow
    This handsome and occasionally exciting movie flounders because it confuses Tinseltown glamour with legendary heroism and beauty.
    • 56 Metascore
    • 50 Michael Sragow
    Bottle Shock wastes that intriguing bit of history and some seductive Napa Valley settings on a bland script that's part period piece, part underdog fable.
    • 56 Metascore
    • 50 Michael Sragow
    This whole movie has zero chemistry. Broderick and Hunt are a match made in hell; Firth and Hunt are a match made in limbo.
    • 56 Metascore
    • 63 Michael Sragow
    By contemporary standards, The Recruit is a halfway decent spy melodrama -- at least to the halfway point.
    • 56 Metascore
    • 38 Michael Sragow
    Will pop your eyes without tickling your funny bone.
    • 56 Metascore
    • 38 Michael Sragow
    W.
    The movie plays like a dunk-the-clown game at a carnival. Through intent or ineptitude, he sets up the Bush family and administrations as caricatures.
    • 56 Metascore
    • 25 Michael Sragow
    Smith appears to have poured his creative energy into the cheerful come-on of the title and left nothing in reserve for the movie. He fails to wring any memorable comedy from shoestring porno filmmakers because his own filmmaking is just as amateurish and slovenly.
    • 56 Metascore
    • 75 Michael Sragow
    Max
    The result is suitably upsetting and intriguing, despite a simultaneously tacky and too-neat climax.
    • 55 Metascore
    • 75 Michael Sragow
    Schwartzberg sees the homegrown innovativeness and grit still standing beneath the glossy media version of the American personality.
    • 55 Metascore
    • 75 Michael Sragow
    Unpretentious and brashly exploitative.
    • Baltimore Sun
    • 55 Metascore
    • 50 Michael Sragow
    Spielberg believes, admirably, that art can grow from love, and vice-versa. But in The Terminal he makes the mistake of insisting on it, repeatedly.
    • 55 Metascore
    • 50 Michael Sragow
    Becoming Jane isn't just a soap opera - it's a soft-soap opera.
    • 55 Metascore
    • 67 Michael Sragow
    Jackson creates a searing study in reverse nobility as a character with a battered, street-poetic presence and subtle powers of sympathy that come into play even when he appears to be a rogue.
    • 55 Metascore
    • 50 Michael Sragow
    Any chance to generate atmosphere or sustained comedy and melodrama goes down the tubes, often literally.
    • 55 Metascore
    • 58 Michael Sragow
    See it with people who take it for the trash it is, and you can cheer the baroque killings and laugh fondly with Forest Whitaker as he tries too hard to create a domestic sociopath to match his role as "Idi Amin."
    • 55 Metascore
    • 50 Michael Sragow
    I found the movie impossibly basic and sanitized as a "never again" parable of the Final Solution - and simply wrongheaded as a story about children.
    • 55 Metascore
    • 88 Michael Sragow
    A sophisticated thrill. And incandescent Thandie Newton is a worthy successor to Audrey Hepburn in 'Charade.'
    • 55 Metascore
    • 38 Michael Sragow
    It's hard to know what these stars are ready for after this fiasco. Maybe a fitness video.
    • 55 Metascore
    • 42 Michael Sragow
    You begin yearning for more cuteness from the anthropomorphic animals: a pelican, a sea lion and, best of all, a bearded dragon lizard. They're a lot more amusing than Foster, who pours on the angst.
    • 55 Metascore
    • 50 Michael Sragow
    No matter how "mock" this epic gets, it isn't mock enough. The "D" in the title must stand for dead weight.
    • 55 Metascore
    • 50 Michael Sragow
    If you feel yourself glowing after Love Actually, you might be suffering from sugar shock.
    • 55 Metascore
    • 75 Michael Sragow
    A campy riot of retro cool, a warm and fuzzy ode to the '70s buddy cops.
    • 55 Metascore
    • 50 Michael Sragow
    Painfully boring.
    • 55 Metascore
    • 25 Michael Sragow
    The comedy of manners becomes strictly a comedy of bad manners.
    • 55 Metascore
    • 91 Michael Sragow
    Mirrormask is a gorgeous psychedelic cameo of a movie.
    • 55 Metascore
    • 38 Michael Sragow
    It's not hell, but limbo, junior high-school style.
    • 55 Metascore
    • 50 Michael Sragow
    The Missing is so dour it makes you wonder why they didn't all just pack up and go back East.
    • 55 Metascore
    • 50 Michael Sragow
    In The Last Samurai, the body count is almost as high as the dead-brain-cell count.
    • 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.
    • 55 Metascore
    • 42 Michael Sragow
    If Pride had concentrated on a gifted coach's teaching and training techniques, it might have been a contender. Instead, all the overheated melodrama evaporates our rooting interest.
    • 55 Metascore
    • 38 Michael Sragow
    A mistaken message is a price a filmmaker pays when he tries to load weighty themes like the cycle of violence on an overgrown boy who scoots around on a bicycle.
    • 54 Metascore
    • 38 Michael Sragow
    The result is as flat as a year-old beer commercial.
    • 54 Metascore
    • 75 Michael Sragow
    A refreshingly unpredictable and fizzy comic fantasy. It tickles the fancy even when it strains credibility.
    • 54 Metascore
    • 75 Michael Sragow
    Superior family fare.
    • 54 Metascore
    • 58 Michael Sragow
    Intermittently fresh and amusing in a low-down yet schmaltzy way.
    • 54 Metascore
    • 58 Michael Sragow
    Memoirs of a Geisha was never primed to be a film that burns down the house.
    • 54 Metascore
    • 75 Michael Sragow
    Intelligent and robust contempt has become so rare in movies that the first half of Art School Confidential is intermittently exhilarating.
    • 54 Metascore
    • 38 Michael Sragow
    It's disconcerting to see Ferrell, a master of macho psychosis, adopt the stop-and-go dithering of Woody Allen-style neurosis.
    • 54 Metascore
    • 38 Michael Sragow
    The low points in this movie aren't just catastrophic: they're bewildering.
    • 54 Metascore
    • 58 Michael Sragow
    You never get the sense that the director, Peter Segal, knows where the funny is, whether in his star or in the story.
    • 54 Metascore
    • 38 Michael Sragow
    A visionary sort of horror movie should ponder three words: "Bram Stoker's Dracula."
    • Baltimore Sun
    • 54 Metascore
    • 25 Michael Sragow
    The desert is clean in Gerry, but it's also empty.
    • 54 Metascore
    • 25 Michael Sragow
    This film isn't the most awful comedy of the year (that would be Bride Wars or New in Town), but it may have the grossest antihero.
    • 54 Metascore
    • 67 Michael Sragow
    Jerry Seinfeld's foray into feature animation will delight young kids and leave their elders alternately amused and bemused.
    • 54 Metascore
    • 38 Michael Sragow
    Rock Star neither touches a raw nerve nor garners any resonance as a period piece. You'd be better off renting "This is Spinal Tap."
    • 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.
    • 53 Metascore
    • 50 Michael Sragow
    Poses as the story of a wild, eccentric love match but is really about a match made in limbo.
    • 53 Metascore
    • 75 Michael Sragow
    Without restraint or subtlety, but with a lot of heart and energy, this movie tells a real-life tall tale.
    • 53 Metascore
    • 83 Michael Sragow
    Bright semi-adult entertainment.
    • 53 Metascore
    • 58 Michael Sragow
    It's seductive in its buildup but overall as subtle and, alas, as humorless as a hatchet to the brain.
    • 53 Metascore
    • 42 Michael Sragow
    Sex and the City, as a film, is a testament to bad faith. It wants its characters to eat their wedding cake and have it, too.
    • 53 Metascore
    • 42 Michael Sragow
    It aims for outlandish and athletic love lyrics and instead achieves all the potency of a makeshift nonsense song banged out on a toy lyre.
    • 53 Metascore
    • 88 Michael Sragow
    As the sequence builds, it accretes so many heroic and nightmarish associations it plays like a prelude to apocalypse, which of course will come in Episode III. Attack of the Clones is part soda pop, part witches' brew - and all visual ambrosia.
    • 53 Metascore
    • 67 Michael Sragow
    The timing couldn't be better for a thriller that focuses on assassination, international war scandals and U.S. agencies of enormous influence and wildly varying competence.
    • 53 Metascore
    • 63 Michael Sragow
    Watching Guy Ritchie's British-underworld farce, RocknRolla, is like being compelled to pay attention to a nonstop rock station you normally use as background while you're doing chores. The words are catchy and the beat keeps you awake, though all of it quickly fades.
    • 53 Metascore
    • 25 Michael Sragow
    The movie is a premise in search of a comedy. Rather than flesh it out, the filmmakers put familiar glad rags on the skull and bones.
    • 53 Metascore
    • 38 Michael Sragow
    This new version may be closer to the Cole Porter biography, but it's hardly any more true to life. There is no life in this movie. It's a brittle contraption of a biopic.
    • 53 Metascore
    • 75 Michael Sragow
    Keeps its eye on the big picture even when focusing on the small scene.
    • Baltimore Sun
    • 53 Metascore
    • 42 Michael Sragow
    In the movie, the unconverted will hold their ears as the banal tunes blare out in multichannel sound. And they'll wince as the camera closes in on every heart-tugging moment.
    • 53 Metascore
    • 75 Michael Sragow
    This movie has its own emotional sorcery. In a raw, humorous way, it grasps how hope and desperation spur magical thinking and, sometimes, real magic.
    • 53 Metascore
    • 38 Michael Sragow
    Luhrmann steals good ideas, fair ideas and terrible ideas - anything that once moved him when he was a little boy. He's turned Australia into a more-than-you-can-eat buffet of colorful kitsch.
    • 53 Metascore
    • 50 Michael Sragow
    O
    This turgid melodrama fast-breaks away from the heart of its own subject.
    • 53 Metascore
    • 33 Michael Sragow
    The second movie, Dead Man's Chest, is everything you feared the first would be: a theme-park spectacle lasting 2 1/2 hours.
    • 53 Metascore
    • 63 Michael Sragow
    Even at its most enjoyable, Eight Legged Freaks is disappointing -- it grazes your funny bone instead of tickling it like crazy.
    • 52 Metascore
    • 75 Michael Sragow
    Redacted is a bristling act of protest that obliterates a target it isn't aiming for.
    • 52 Metascore
    • 25 Michael Sragow
    The problem with Allen's latest, The Curse of the Jade Scorpion, is "Not enough Double Indemnity."
    • 52 Metascore
    • 38 Michael Sragow
    The film is hapless. The gap between the moviemakers' ambition and their wit is dizzying. It's as if they thought they were filming The Importance of Being Unimportant.
    • 52 Metascore
    • 67 Michael Sragow
    No matter how good-natured, The Holiday ends up a glutted farce.
    • 52 Metascore
    • 91 Michael Sragow
    As a filmmaker, Brewer doesn't just yank your chain: He forges a bond with his characters and his audience that produces ecstasy and healing.
    • 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.
    • 52 Metascore
    • 25 Michael Sragow
    So witless it wins most of its laughs when Czech-speaking characters spout obscenities that get translated into English subtitles.
    • Baltimore Sun
    • 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.
    • 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.
    • 52 Metascore
    • 50 Michael Sragow
    Maybe the best way to see Serendipity is to take a cue from the characters and wait a few years.
    • Baltimore Sun
    • 52 Metascore
    • 50 Michael Sragow
    This fake-feminist thriller hides its sadism under a show of sympathy for its beleaguered heroine.
    • 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.
    • 52 Metascore
    • 75 Michael Sragow
    Enough flair and conviction to keep the movie buoyant even when its plot is abrupt and its emotionality conventional.
    • Baltimore Sun
    • 52 Metascore
    • 50 Michael Sragow
    With Nicholson and Sandler aboard, we want to love it madly. But instead of a tickle, this big-name comedy just grates.
    • 52 Metascore
    • 42 Michael Sragow
    This movie doesn't have a mean bone in its body; the problem is, it doesn't have any bone in its body.
    • 52 Metascore
    • 75 Michael Sragow
    May not make adults feel as if they're 10 again, but it will awaken their memories of Saturday matinees that upped children's adrenaline without blinding them with Day-Glo colors or insulting their intelligence.
    • 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.
    • 52 Metascore
    • 50 Michael Sragow
    This fourth "Terminator" film is the ultimate heavy-metal parody. Better make that travesty, because there are next to no moments of comedy.
    • 52 Metascore
    • 63 Michael Sragow
    Overall, though, the movie lacks the dash, wit, authority and character to become a first-class thinking-man's thriller.
    • 52 Metascore
    • 75 Michael Sragow
    Producers hits few wrong notes on the big screen.
    • 52 Metascore
    • 38 Michael Sragow
    Despite these flaws, people sick of gross-out films and teen-sex comedy may be so hungry for farce that they laugh.
    • 52 Metascore
    • 63 Michael Sragow
    A flimsy, genial romp peopled with early-twentysomethings and targeted at teens and young adults.
    • 52 Metascore
    • 63 Michael Sragow
    Too soft on its lead character and too willing to chalk up America's drug appetites to the times-that-were-a-changin' in the '60s.
    • Baltimore Sun
    • 51 Metascore
    • 75 Michael Sragow
    Weitz doesn't manage Pullman's feat of being rational and magical simultaneously. But he rapidly and intelligently opens up Pullman's world.
    • 51 Metascore
    • 50 Michael Sragow
    For a movie with such a vibrant real-life base, An American Rhapsody is surprisingly low-impact.
    • 51 Metascore
    • 63 Michael Sragow
    Woo's antiwar intentions and his talent are at odds. In Windtalkers, war is a beautiful hell.
    • Baltimore Sun
    • 51 Metascore
    • 50 Michael Sragow
    The final half-hour is like the not-so-grand finale for a silly-sticky sitcom. It's a college-town “Friends” with an unearned doctorate.
    • 51 Metascore
    • 25 Michael Sragow
    The movie bobbles along on a weird, soft-edged sarcasm.
    • 51 Metascore
    • 42 Michael Sragow
    Like a party where everyone is so desperate to have a good time that it makes you miserable.
    • 51 Metascore
    • 75 Michael Sragow
    What makes it all work is that Frank remains a self-made hero.
    • 51 Metascore
    • 75 Michael Sragow
    In an age when light-and-easy racial farces have become mainstream hits, he remains a tough-love comedian.
    • 51 Metascore
    • 50 Michael Sragow
    Rarely has appalling, reckless behavior been so soporific as in Savage Grace.
    • 51 Metascore
    • 63 Michael Sragow
    Cut above this genre's usual industrial sludge, even when the chops and kicks are too fast to follow.
    • 51 Metascore
    • 25 Michael Sragow
    Irreversible, though, is not a Kubrickian head trip. All Noe has come up with is a turn-on for sadists.
    • 51 Metascore
    • 50 Michael Sragow
    A bit like a real-world horror film with "heart," right down to the trick ending.
    • 51 Metascore
    • 67 Michael Sragow
    Step Brothers at its best is a smarter "Dumb and Dumber."
    • 50 Metascore
    • 38 Michael Sragow
    This film isn't an enjoyable martial-arts extravaganza like "District B-13" or the "Transporter" films.
    • 50 Metascore
    • 63 Michael Sragow
    If only the director, or his deus, could have delivered us from the inevitable shock ending, which blends Darwin and Einstein with purest P.T. Barnum.
    • Baltimore Sun
    • 50 Metascore
    • 25 Michael Sragow
    Avary has taken a pig's ear of a book and turned it into a pig's ear of a movie.
    • Baltimore Sun
    • 50 Metascore
    • 50 Michael Sragow
    It all comes off as a case of filmmakers wanting to have their communion wafer and eat it, too.
    • 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
    • 75 Michael Sragow
    The story may be about cold-blooded murder, but Bullock's pulsating performance is about the getting of wisdom.
    • 50 Metascore
    • 33 Michael Sragow
    A movie made at wits' end. There are four or five authentic laughs in the whole 170-minute extravaganza.
    • 50 Metascore
    • 25 Michael Sragow
    Solondz is still stuck in an adenoidal whine.
    • 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.
    • 50 Metascore
    • 25 Michael Sragow
    If this version had been called The Poseidon Adventure, audiences could have sued for truth in packaging.
    • 50 Metascore
    • 42 Michael Sragow
    This rendering of the turbulent second marriage of England's King Henry VIII proves too heavy-footed for the old movie two-step of setting up a morality tale, then exploiting it for heat and titillation.
    • 49 Metascore
    • 38 Michael Sragow
    Because this Four Feathers is an utter botch, it might make savvy viewers feel that the subject matter is hopeless.
    • 49 Metascore
    • 88 Michael Sragow
    The movie's sweetness, wit and charm go beyond its can't-we-all-just-get-along premise.
    • 49 Metascore
    • 75 Michael Sragow
    The excitingly well-made Death of a President imagines the assassination of President Bush as a way of analyzing political violence. And Sen. Hillary Rodham Clinton, sight unseen, has labeled it despicable.
    • 49 Metascore
    • 50 Michael Sragow
    Even the title is off. I haven't heard an honest "Lucky You" since I was in sixth grade. For most people it registers as a sneer.
    • 49 Metascore
    • 58 Michael Sragow
    The saving grace in an exuberantly graceless movie is Clive Owen. This actor is bulletproof. Even in a sick-joke jamboree like Shoot 'Em Up, he mows down the competition and gets his laughs without losing his composure.
    • 49 Metascore
    • 67 Michael Sragow
    The first half is diverting and inventive. But the filmmakers use the second half as a box-office insurance policy. They fill it with the conventional super-heroics and heartbreak that they spend the first 45 minutes gleefully deconstructing.
    • 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.
    • 49 Metascore
    • 50 Michael Sragow
    Despite the nice touches at the corners, the center does not hold. In I Think I Love My Wife, there's too much emphasis on the Think.
    • 49 Metascore
    • 63 Michael Sragow
    The most refreshing thing about the original Men in Black was that it was relatively small - a modest, slapdash, 98-minute special-effects farce. The most refreshing thing about Men in Black II is that it is 10 minutes shorter.
    • 49 Metascore
    • 67 Michael Sragow
    De Palma's direction shines, but noir script doesn't match his gifts.
    • 49 Metascore
    • 63 Michael Sragow
    Soul Men isn't much of a movie, but it bubbles along and reaches its percolating high point at the very end.
    • 49 Metascore
    • 63 Michael Sragow
    Could have been a contender, but it lacks the courage of its own ambivalence.
    • 49 Metascore
    • 75 Michael Sragow
    What makes the "Dolittle" movies stand out from this menagerie is the superb casting and matching of the animals and their human voices.
    • 49 Metascore
    • 25 Michael Sragow
    The Emperor's Club is a beautiful fraud -- as gracefully proportioned as a Christopher Wren academy, yet as devoid of content as a prep-school promo film.
    • 49 Metascore
    • 50 Michael Sragow
    The casting in K-PAX is canny, but the picture as a whole is a clunky mix of the canny and the would-be uncanny.
    • 49 Metascore
    • 50 Michael Sragow
    Ragged and frenetic.
    • Baltimore Sun
    • 48 Metascore
    • 50 Michael Sragow
    Rather than providing flashes of one-of-a-kind humor, Allen has reached the point where his critical and movie-going fans are humoring him.
    • 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
    • 75 Michael Sragow
    Modest, tasty, and it goes down easy, like home cooking.
    • 48 Metascore
    • 25 Michael Sragow
    Isn't a full-bodied comedy, and it isn't a bona fide action movie, either. It just makes a facetious spectacle of itself.
    • 48 Metascore
    • 38 Michael Sragow
    As a romance, Spanglish is like a wholesome flirt who drags things out and becomes a tiresome tease. As a satire of upper-middle-class Los Angeles, it's a disaster.
    • 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
    • 38 Michael Sragow
    A one-joke movie. What makes it misfire is that its one joke clashes with its one idea.
    • Baltimore Sun
    • 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
    • 25 Michael Sragow
    The film saddles Craig T. Nelson with the generally thankless role of Paxton's cold, distant dad. But when he feels like the only person who doesn't understand what's going on with Tate and his son, you feel like saying, "No, me too."
    • 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.
    • 48 Metascore
    • 38 Michael Sragow
    xXx
    The movie's own style is strictly an anti-style, all pre-packaged post-punk.
    • 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
    • 67 Michael Sragow
    Apart from the movie's moments of flesh and fantasy, it lacks the lyric impulse that would make the swank fantasy take flight.
    • 47 Metascore
    • 38 Michael Sragow
    Gibson mounts a convincing crucifixion, but his victim is the audience. The Passion of the Christ aims its metallic cat-o'-nine-tails at the viewers' nerves.
    • 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
    • 75 Michael Sragow
    Uneven and affecting movie.
    • 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
    • 25 Michael Sragow
    Not since Rocky II has there been a more blatant attempt to recapitulate a box-office hit without adding any new attraction or appeal.
    • 47 Metascore
    • 33 Michael Sragow
    Forget any hope of raffish adventure if you think of seeing Flyboys.
    • 47 Metascore
    • 67 Michael Sragow
    Costner does something difficult: In the middle of a tepid comic whirlpool, he finds the humorous aspect of inertia.
    • 47 Metascore
    • 50 Michael Sragow
    Hasn't got quite the right sound as it did in Annie Proulx's novel.
    • Baltimore Sun
    • 47 Metascore
    • 67 Michael Sragow
    Watching The Lost City is like falling into a delirious dream on a marathon train ride only to be roused every 15 minutes by a conductor punching your ticket or barking out the next stop.
    • 47 Metascore
    • 0 Michael Sragow
    All it offers is sadism, impure and simple.
    • 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
    • 75 Michael Sragow
    It's the ideal capper for a cop comedy with a refreshingly wry, adult and humane attitude.
    • 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
    • 75 Michael Sragow
    Semi-Pro is so shabbily staged, shot and edited that it hardly ranks as a movie, much less a sports film, but hilarious people keep turning up in it.
    • 47 Metascore
    • 38 Michael Sragow
    Starts out mixing social burlesques and melodrama and ends up one more failed thriller about men behaving badly - and stupidly.
    • 47 Metascore
    • 12 Michael Sragow
    Brand's script is a puzzle without a satisfying solution. Even at its supposedly heartfelt conclusion, it's more ironic than emotional, more of an art thing than a suspense movie.
    • 47 Metascore
    • 63 Michael Sragow
    Sadly, most of the fun and all the magic derive from the location. The most enthralling fantasy of Just Like Heaven is that an unemployed landscape architect and a fledgling doctor can afford a sprawling apartment with a rooftop view in San Francisco.
    • 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
    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
    • 63 Michael Sragow
    It lands the characters in a shambles of farce, melodrama and forced chivalry. For all its promise and accomplishment, the screenplay, like Eva, needs a knight on a white horse.
    • 46 Metascore
    • 25 Michael Sragow
    In the Cut is a disaster. Familiar to the bone, arty on the surface, it could serve as the doomed pilot for a nightmare TV spinoff: Law & Order: Literary Victims Unit.
    • 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
    • 25 Michael Sragow
    Pleasantly meanders around a group of people who pitch projects and pitch woo on the Riviera.
    • Baltimore Sun
    • 46 Metascore
    • 25 Michael Sragow
    The best reason to see it is Kate Bosworth as Sandra Dee.
    • 46 Metascore
    • 25 Michael Sragow
    Too bad you can see this sort of thing done more amusingly every week on ABC-TV and Comedy Central.
    • 46 Metascore
    • 63 Michael Sragow
    Secret Window leaves you unsatisfied and frustrated. Depp's performance both makes the film and undercuts it. He's a poet caught in a machine.
    • 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
    • 0 Michael Sragow
    CJ7
    You leave this movie feeling mugged.
    • 46 Metascore
    • 38 Michael Sragow
    Unfortunately, nothing in it rings with the faintest tinkle of truth.
    • 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
    • 83 Michael Sragow
    The opening half-hour may prove to be a disreputable classic of pedal-to-the-metal filmmaking.
    • 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
    • 33 Michael Sragow
    The surefire laugh-getter centers on using a tampon to stop a nosebleed. Watching this movie, I had to hope it could stop brain-drain.
    • 45 Metascore
    • 75 Michael Sragow
    Pearce makes you see why Edie found Warhol as irresistible as he found her. His otherworldly eyes focus on both who she is and what she represents. He sees her as a star.
    • 45 Metascore
    • 38 Michael Sragow
    As a spy film, The Sum of All Fears is flaccid, and as an expose of nuclear threats, there's not enough information.
    • 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
    • 67 Michael Sragow
    What keeps the Fantastic Four franchise alive is the Human Torch's emotional fire and the Silver Surfer's melancholy ice.
    • 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.
    • 45 Metascore
    • 25 Michael Sragow
    "Hello, I Must Be Going," sings Groucho Marx in a clip from "Animal Crackers" at the start of the film. If I'd known what followed, I would have followed his advice.
    • 45 Metascore
    • 67 Michael Sragow
    It's the wrestling match between the banker and the bad guy that fuels the audience's adrenaline.
    • 45 Metascore
    • 50 Michael Sragow
    Costner succumbs to terminal self-seriousness when he makes a movie of his own either as the director or, in this case, a producer.
    • 45 Metascore
    • 25 Michael Sragow
    Life as a House mounts a brutally insensitive attack on its audience's sensitivities.
    • 45 Metascore
    • 38 Michael Sragow
    What's wrong with Latter Days is that its banter is pedestrian and its lessons forced.
    • 45 Metascore
    • 50 Michael Sragow
    Weitz's idea of satire is generally both ludicrous and mild: exaggerating types, then sentimentalizing them.
    • 45 Metascore
    • 42 Michael Sragow
    The best you can say about Owen is that no actor has looked better in thigh-high boots and puffed-out britches.
    • 45 Metascore
    • 88 Michael Sragow
    It overflows with a combustible blend of street sensitivity and testosterone.
    • 45 Metascore
    • 38 Michael Sragow
    And Witherspoon? She does the American equivalent of a mechanical British performance: She hits every note too perfectly. There's no shadow to her smile.
    • 45 Metascore
    • 63 Michael Sragow
    I hope the producers bring Lin back for the fifth film and strip it down even more. They can lose all the human characters except Brian and Mia and simply call it F&F.
    • 45 Metascore
    • 50 Michael Sragow
    Like an over-packed three-scoop cone -- it melts into a mess while we're still slurping away.
    • 45 Metascore
    • 63 Michael Sragow
    The most appealing aspect of the movie is that the guys and gal at the center of it don't just love the Star Wars saga for its own sake. They love the way they feel about each other when they're escaping into its universe and sharing all the wonder and the trivia.
    • 45 Metascore
    • 25 Michael Sragow
    In this film, Soderbergh appears to judge the actors by how well they spew or swallow bile.
    • Baltimore Sun
    • 45 Metascore
    • 25 Michael Sragow
    Too bad the director ties everyone's laces together and they all go down in a jumble.
    • 45 Metascore
    • 38 Michael Sragow
    S.W.A.T. may be an acronym for Special Weapons and Tactics, but by the end of this routine melodrama, it might as well stand for Standard Whacking and Trashing.
    • 45 Metascore
    • 38 Michael Sragow
    Plays like Abbott and Costello Meet Conan the Barbarian.
    • 44 Metascore
    • 42 Michael Sragow
    This may be Thornton's most arch, least persuasive performance. With Heder he's a vacant scowl. With Barrett he's a threatening yet toothless Cheshire Cat.
    • 44 Metascore
    • 88 Michael Sragow
    A Slipping-Down Life may be low-key, but if you enter its unique atmosphere, you will leave exhilarated.
    • 44 Metascore
    • 50 Michael Sragow
    It's actually surprising that Chan is as engaging as he is. He's a canny performer in a canned-goods movie.
    • 44 Metascore
    • 25 Michael Sragow
    A brain-dead buddy-movie tearjerker with semi-tasteful romance and tasteful gore mixed in with the derring-do.
    • Baltimore Sun
    • 44 Metascore
    • 58 Michael Sragow
    To Pellington's credit, the performers eschew sentimentality.
    • 44 Metascore
    • 63 Michael Sragow
    It's so wispy that at the end you wonder: Exactly what runs in the family?
    • 44 Metascore
    • 63 Michael Sragow
    In Head of State, Rock may be verging on becoming a heart-warmer.
    • 44 Metascore
    • 50 Michael Sragow
    Remember mood rings? The Ring Two is a mood movie - a bad-mood movie.
    • 44 Metascore
    • 50 Michael Sragow
    From the start, this movie sets the bar high -- then, unfortunately, runs smack into it.
    • Baltimore Sun
    • 44 Metascore
    • 63 Michael Sragow
    Too bad Kidron, Fielding and company pay only cafe lip service to satire.
    • 44 Metascore
    • 42 Michael Sragow
    But by the end, you're only watching to see how far Wilmot's pustules will spread, or whether his various diseases will really make his nose fall off.
    • 44 Metascore
    • 38 Michael Sragow
    In this movie, when the honeymoon is over it's really over.
    • 44 Metascore
    • 88 Michael Sragow
    Turns the kleig lights around to produce a wry and dead-on commentary on the film industry and the journalists who cover it.
    • Baltimore Sun
    • 43 Metascore
    • 63 Michael Sragow
    Eagle Eye has half an idea in its head, but over two hours there's no time to complete or explore it, since the movie isn't just a chase but a combination steeplechase and destruction derby.
    • 43 Metascore
    • 50 Michael Sragow
    It's not a comedy-drama, really. It's let's-all-share therapy in beautiful Boulder, Colo.
    • 43 Metascore
    • 16 Michael Sragow
    The filmmakers lack any visual sense of humor and any talent for sustaining long-form comedy; the stunts have less wallop than a TV bloopers show and the Oedipal family slapstick goes around in circles, in more ways than one.
    • 43 Metascore
    • 38 Michael Sragow
    It's a mishmash of "The Bridge on the River Kwai," "From Here to Eternity" and "The Great Escape," with everything complex and entertaining siphoned off.
    • 43 Metascore
    • 75 Michael Sragow
    This film's playful visual language pulls you in rather than shuts you out; it isn't difficult to decipher, and it enables Coppola and his editor, Walter Murch, to navigate the story's many realms with a directness and dexterity that are refreshing.
    • 43 Metascore
    • 58 Michael Sragow
    Unfortunately, the waste of artistic possibilities dwarfs the human wreckage - and the human salvage - in Freedomland.
    • 43 Metascore
    • 50 Michael Sragow
    More palatable than "Norbit" but equally uninspired, Murphy's benign, pedestrian Meet Dave mostly gives us "Mr. Ed," with a bit of Crazy Eddie mixed in.
    • 43 Metascore
    • 42 Michael Sragow
    The movie version of Love in the Time of Cholera doesn't have the drive or the dynamism to be an artistic nightmare. It's more like a dead dream, the kind that leaves nothing more behind in the light of day than a sickly cloud.
    • 43 Metascore
    • 38 Michael Sragow
    Wonderland marks a "biopic" first: Moviegoers will know less about the real-life subject going out than they did going in.
    • 43 Metascore
    • 0 Michael Sragow
    Here's hoping Allen's static Hennessey is due to an extreme acting choice and not plastic surgery. It would be tragic to lose a natural smile to star in garbage like Death Race.
    • 43 Metascore
    • 50 Michael Sragow
    The whole thrust of the movie is to warn black women against emasculating their men.

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