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

Michael Sragow's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Y Tu Mamá También
Lowest review score: 0 The Last House on the Left
Score distribution:
1,035 movie reviews
    • 43 Metascore
    • 63 Michael Sragow
    Angelina Jolie focuses her wild energy into outlandish heroics, and emerges with more attractiveness and credibility than all three of those silly Charlie's Angels combined.
    • 42 Metascore
    • 38 Michael Sragow
    The movie gives us a time machine that resembles a twin-engined Mixmaster and a script that was tossed together inside one.
    • 42 Metascore
    • 50 Michael Sragow
    The movie, brief though it is, feels as padded as a travelogue.
    • 42 Metascore
    • 25 Michael Sragow
    How did an embarrassment of comic-book riches become simply an embarrassment as a movie?
    • 42 Metascore
    • 63 Michael Sragow
    Despite all its talk of genetic engineering and its deliberately stupid characters, the unintended message of Jurassic Park III is that when it comes to art and entertainment, you can't beat human DNA.
    • 42 Metascore
    • 50 Michael Sragow
    Great casting ideas, like Glenn Close and Christopher Walken as "the King and Queen of Stepford," don't pay off, because the filmmakers' increasingly desperate twists alter the basis of the characters.
    • 42 Metascore
    • 33 Michael Sragow
    Is there anything more pathetic than a movie that will do anything for a laugh or a tear that doesn't get any laughs or tears?
    • 42 Metascore
    • 0 Michael Sragow
    It's a gore sundae with an S&M cherry on top.
    • 42 Metascore
    • 0 Michael Sragow
    The movie is a model of multinational incompetence.
    • 41 Metascore
    • 50 Michael Sragow
    Knowing offers mumbo jumbo on an apocalyptic scale.
    • 41 Metascore
    • 50 Michael Sragow
    The movie could use less romantic boo-hoo-hoo and more Bunuel: It's engaging whenever Bunuel acts as ringleader or troublemaker, even when he's blustery and piggish.
    • 41 Metascore
    • 50 Michael Sragow
    Borders on poppycock.
    • 41 Metascore
    • 58 Michael Sragow
    In Stay, the director, Marc Forster, fresh from "Finding Neverland," turns Manhattan into a nightmarish dreamscape and his characters into self-destructive ghosts.
    • 41 Metascore
    • 25 Michael Sragow
    What's more annoying than the screenplay's relentless assaultiveness is its odd, sordid cuteness.
    • 41 Metascore
    • 50 Michael Sragow
    Sahara doesn't waste time on introductions. It wastes time in other ways.
    • 41 Metascore
    • 25 Michael Sragow
    The result is an out-of-control, lost-in-the-funhouse experience.
    • 41 Metascore
    • 25 Michael Sragow
    Barf-bag baroque.
    • 40 Metascore
    • 33 Michael Sragow
    Was the Swedish director, Mikael Hafstrom, taking revenge on the American star system?
    • 40 Metascore
    • 25 Michael Sragow
    In Schumacher's relentlessly arrhythmic and tone-deaf film, Gerard Butler plays the title role as if he were just plucked out of Monty Python's lumberjack chorus.
    • 40 Metascore
    • 75 Michael Sragow
    Blessedly unimportant, Fantastic Four cruises along on modest yet genuine comic-book pleasures.
    • 40 Metascore
    • 25 Michael Sragow
    Not enough to keep Clockstoppers from turning viewers into clock-watchers.
    • Baltimore Sun
    • 40 Metascore
    • 63 Michael Sragow
    Passed my popcorn-movie test. Using the vast, expensive technology of a big studio production, it roused enough cheap energy to drive me to eat a bag of popcorn fit for a circus animal and wash it down with a quart of Diet Coke.
    • 40 Metascore
    • 25 Michael Sragow
    Peaceful Warrior fails pitifully at being transcendent. This New Age movie about living in the moment gets you looking at your watch and squirming in your seat.
    • 39 Metascore
    • 0 Michael Sragow
    Fame has today's usual gritty form of slick to it, but in every other way it's an Amateur Hour and a half.
    • 39 Metascore
    • 75 Michael Sragow
    A wholesome, headlong extravaganza - a sort of North by Northeast sans high style and erotic innuendo.
    • 39 Metascore
    • 38 Michael Sragow
    The only reason to see Nights in Rodanthe is to check in with Diane Lane.
    • 39 Metascore
    • 75 Michael Sragow
    The most refreshing thing about Man of the Year is its mingling of comedy and suspense with common decency. Levinson asks his countrymen not just to know their limits, but also to reach them.
    • 39 Metascore
    • 25 Michael Sragow
    Reprehensible.
    • 39 Metascore
    • 25 Michael Sragow
    The movie is a monument to egomania - and I don't mean Alexander's.
    • 39 Metascore
    • 50 Michael Sragow
    As overstated and expository as a historical pageant, from the drippy music to a sputtering, running gag involving funky old jalopies to cliched speeches and teary-eyed deaths and a final voice-over crying out for peace. Why not add a song score and an exclamation mark in the title?
    • 39 Metascore
    • 50 Michael Sragow
    The script gives the actors less of a chance than the dragons give to Homo sapiens.
    • 38 Metascore
    • 63 Michael Sragow
    Salma Hayek merrily struts off with most of Brett Ratner's wispy caper comedy.
    • 38 Metascore
    • 38 Michael Sragow
    The serial-killer thriller of the week, should have gotten a life of its own instead of trying to steal it from Michael Pye's novel of the same name and several other movies.
    • 38 Metascore
    • 50 Michael Sragow
    At two hours, The Chronicles of Riddick is way too long for ridiculous.
    • 38 Metascore
    • 38 Michael Sragow
    The apotheosis of adolescent junk. Every sequence spews or splats carnage-filled effects. It's over-the-top, but not pleasurably so -- it's calculatedly over-the-top. The only way to get off on it is to revel in its prodigal waste of materiel.
    • 38 Metascore
    • 25 Michael Sragow
    Most of the film simply wallows in gangsta hyperbole - it's all bling bling, bang bang.
    • 38 Metascore
    • 38 Michael Sragow
    The problem with Confessions of a Shopaholic isn't conspicuous consumption. It's ostentatious idiocy.
    • 38 Metascore
    • 38 Michael Sragow
    Failed marital farce.
    • 38 Metascore
    • 38 Michael Sragow
    By the end, this movie's balancing act is the equivalent of network news' equal-time laws. The "fairness" becomes deadening.
    • 38 Metascore
    • 67 Michael Sragow
    The movie has a lot going for it, including wonderful sets and locations - in Bucharest, Romania! - that create a heightened-reality English hamlet with pub, church, manor and shops (make that shoppes!). And the lead actor, Ludwig, registers the growth spurts of the stripling hero with the sensitivity and precision of an emotional seismograph.
    • 38 Metascore
    • 38 Michael Sragow
    Maybe this is a psychological thriller after all: Every thinking member of the audience will be driven insane.
    • 38 Metascore
    • 25 Michael Sragow
    To call Death to Smoochy satire -- or parody, burlesque, or even lampoon -- would be too generous. The moviemakers merely glide on the thin ice of yesterday's cynicism.
    • Baltimore Sun
    • 38 Metascore
    • 50 Michael Sragow
    Even the cartoon Pink Panther in the credits seems off - at once too glitzy and too fey, more Peter Allen than Pink Panther.
    • 38 Metascore
    • 38 Michael Sragow
    As sweet and hopeless and silly as a doting dad framing his second-grader's latest finger-painting and calling it a Matisse.
    • 37 Metascore
    • 0 Michael Sragow
    Be Cool proves that when "cool" evaporates all it leaves are embarrassing little puddles.
    • 37 Metascore
    • 16 Michael Sragow
    A colossal dud.
    • 37 Metascore
    • 0 Michael Sragow
    It's about as much fun for the viewer as being dropped into a virtual-reality version of a highway-safety crash film. Hall writes and directs with the finesse of a rusty hatchet.
    • 37 Metascore
    • 75 Michael Sragow
    For all his excesses and wrong turns, Lee has made a grown-up movie with an adult sense of loss and an adult sense of hope. He may be addicted to broad flourishes, but he has the big emotions to back them up.
    • 37 Metascore
    • 38 Michael Sragow
    Bad Company is about an undercover brother, but it will never be confused with "Undercover Brother."
    • Baltimore Sun
    • 37 Metascore
    • 42 Michael Sragow
    Everyone from the ensemble appears to be acting in a different picture. Zaillian strands them all.
    • 37 Metascore
    • 50 Michael Sragow
    It's a family film done as a trip film. It is a trip, but it's a bad trip.
    • 36 Metascore
    • 25 Michael Sragow
    The whole narrative is too hollow and rickety as well as gimmicky for Muccino to breathe much life into it.
    • 36 Metascore
    • 38 Michael Sragow
    However you pronounce Bythewood -- I assume it's by-the-wood -- his work here is strictly by the numbers.
    • 36 Metascore
    • 38 Michael Sragow
    Under the guidance of Jon Avnet, they're (De Niro/Pacino) both playing New York police detectives - partners, no less - in the cop-and-serial-killer tale Righteous Kill, and they're thunderously mediocre.
    • 36 Metascore
    • 33 Michael Sragow
    If you're not a fan of M. Night Shyamalan's convoluted, teasing thrillers, you'll find that getting into this movie is like cracking a puzzle in which the constructor keeps breaking his own rules or grabbing new ones from ultra-thin air.
    • 36 Metascore
    • 33 Michael Sragow
    The movie has nothing to offer except titillation.
    • 36 Metascore
    • 88 Michael Sragow
    Although it's in the same genre as "The English Patient," it's a vastly better movie --more surprising and original, more rigorous and sympathetic. This film is oddly shaped. It is also heartbreaking and exhilarating.
    • 36 Metascore
    • 25 Michael Sragow
    The one actor I wanted more of was Williams, who imbues Jack's dad with a robust, sometimes domineering wiliness that suggests a real person. Of course, these silly, inept filmmakers probably cast him because he plays a good guy and his first name is Treat.
    • 36 Metascore
    • 25 Michael Sragow
    Even the great Lily Tomlin can't muster a funny reaction to a Polish joke. It's an everything-including-the kitchen-sink comedy -- and the sink has rusty pipes.
    • 36 Metascore
    • 50 Michael Sragow
    Domino should have been a terrific anti-heroine, but the movie never gets deep enough inside this walking time bomb to reveal what makes her tick.
    • 35 Metascore
    • 63 Michael Sragow
    If you like hard bodies and hot engines, if you want to feel like you're inside a cockpit or a video game with someone else working the joystick, you'll find decent escape from the summer doldrums in Stealth.
    • 35 Metascore
    • 67 Michael Sragow
    It's not exactly thrilling, and it doesn't cover much new ground. But young audiences will lap it up like ice cream.
    • 35 Metascore
    • 50 Michael Sragow
    This movie proves to be the year's most anti-romantic comedy.
    • 35 Metascore
    • 25 Michael Sragow
    The whirl, bang and general bother of crashing gears and gnashing metal ends up suffocating the senses.
    • 35 Metascore
    • 38 Michael Sragow
    The biggest crime of Van Helsing is that it resurrects classic monsters and fails to make them scary. With a full 132 minutes of feeble jokes and gimcrack phantasmagoria, it's not spine-tingling - it's butt-numbing.
    • 35 Metascore
    • 50 Michael Sragow
    Too bad Dreamcatcher amounts to a pastiche of better films like the original "The Thing" and both versions of "Invasion of the Body Snatchers." It ransacks the audience's memory warehouse.
    • 35 Metascore
    • 50 Michael Sragow
    Up against the wit and teamwork of the sparkling TV original, this lame vehicle sputters and fades.
    • 35 Metascore
    • 50 Michael Sragow
    Most of the movie makes too much sense and is no fun at
    • 34 Metascore
    • 38 Michael Sragow
    Forget chemistry: There's no biology to the star casting.
    • 34 Metascore
    • 0 Michael Sragow
    Ghosts of Girlfriends Past displays nary a wisp of life, let alone an afterlife.
    • 34 Metascore
    • 25 Michael Sragow
    Armed with few laughs, this clumsy sequel makes a sloppy mess of its plot ... and star Sandra Bullock.
    • 34 Metascore
    • 25 Michael Sragow
    Gory overkill.
    • 34 Metascore
    • 38 Michael Sragow
    Sheila Bernette, as an aged pickpocket, is less a stereotype than an escapee from some provincial British comedy of the early 1950s. But she steals necklaces and knickknacks with such finesse and gusto that she also steals the movie.
    • 34 Metascore
    • 42 Michael Sragow
    Shyamalan has said he wanted to create the best B-movie ever made, but it fails to be the best C movie of the month. (Stuck or Zohan are better C movies.)
    • 34 Metascore
    • 38 Michael Sragow
    The unearned air of moralism that wafts through 15 Minutes pollutes its entertainment value.
    • 34 Metascore
    • 63 Michael Sragow
    At best it's a bit like Mel Brooks' "The History of the World Part I" (except Ramis stops somewhere in Genesis); at worst it's like a Scary Movie-type parody of John Huston's "The Bible."
    • 34 Metascore
    • 33 Michael Sragow
    It's as if all the digital tools of new millennial filmmaking fell into the hands of men who had less storytelling sense than a campfire bard or a cave painter.
    • 34 Metascore
    • 38 Michael Sragow
    The surprise behind Town and Country isn't that the director started filming without a finished script, but that he ever thought he had the start of one.
    • 33 Metascore
    • 25 Michael Sragow
    Collateral Damage isn't jingoistic; it also isn't exciting. It's a depressed rabble-rouser.
    • 33 Metascore
    • 25 Michael Sragow
    Equilibrium doesn't tread softly on our dreams; it tramples them.
    • 33 Metascore
    • 50 Michael Sragow
    Despite the tenderness between them, Rose and her perfect younger man have the sickest mother-son relationship since Angela Lansbury and Laurence Harvey in "The Manchurian Candidate" - and Mikey seems just as brainwashed.
    • 33 Metascore
    • 25 Michael Sragow
    It might sound intriguing to root the saying, "Physician, heal thyself," in the plight of a hypocritical self-help guru, but the romantic drama Love Happens suffers from acute irony deficiency.
    • 33 Metascore
    • 50 Michael Sragow
    You have to be willing to take a lot of punishment for a few good scares.
    • 33 Metascore
    • 50 Michael Sragow
    Les Mayfield doesn't know how to stage showdowns and chases so they're exciting or funny.
    • 32 Metascore
    • 33 Michael Sragow
    By the end, it doesn't even have the courage of its political incorrectness.
    • 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.
    • 32 Metascore
    • 38 Michael Sragow
    Too bad this movie is more tepid than the average Snipes potboiler and even rustier than his mindless Blade pictures.
    • Baltimore Sun
    • 32 Metascore
    • 38 Michael Sragow
    Beyond Borders keeps angling for a peace prize; it might have won more hearts and minds if it came together as a movie.
    • 32 Metascore
    • 63 Michael Sragow
    Scrambled space-time comedy that's as light and silly as it is erratic.
    • 32 Metascore
    • 25 Michael Sragow
    This chick flick never should have made it out of the incubator.
    • Baltimore Sun
    • 31 Metascore
    • 38 Michael Sragow
    What kills Max Payne is that the characters think and feel in slow motion. Half the time, mentally, they're just running in place.
    • 31 Metascore
    • 25 Michael Sragow
    By the end, Pootie Tang feels as long as Kevin Costner's "Wyatt Earp."
    • 31 Metascore
    • 75 Michael Sragow
    Quirky and enjoyable.
    • 31 Metascore
    • 25 Michael Sragow
    Jane Fonda coming back to the screen after a decade-and-a-half absence in Monster-in-Law is like Brando returning from the dead to star in a Police Academy movie.
    • 31 Metascore
    • 25 Michael Sragow
    To top it off, the ending is a clumsy cheat. Of course, I was rooting for the news gal to expire and the film to die a quick death.
    • Baltimore Sun
    • 31 Metascore
    • 25 Michael Sragow
    Bomback's script is the worst thing a thriller can be - a flip-flopper, using quick character changes for plot twists. And Langenegger's direction rarely sustains a mood or tone, only a sleek veneer of luxury and knowingness.
    • 31 Metascore
    • 25 Michael Sragow
    Fails to meld suspense and farce or to bring even the wildest pursuits and smash-ups any visual sense of comedy.
    • 31 Metascore
    • 42 Michael Sragow
    It's like an Indiana Jones movie without rhythm, wit or personality, just a desperate, headlong pace.
    • 30 Metascore
    • 0 Michael Sragow
    All Alexander proves in Punisher: War Movie is that a martial-arts-trained woman can make a film just as stupid, coarse and numbing as any muscle man.
    • 30 Metascore
    • 38 Michael Sragow
    Pious, high-minded and bad history.
    • 30 Metascore
    • 38 Michael Sragow
    How does an embarrassment of riches turn into mere embarrassment?
    • 30 Metascore
    • 25 Michael Sragow
    This kind of fiasco turns movie critics into so many Night Stalkers.
    • 30 Metascore
    • 25 Michael Sragow
    Dramatically, it's a ghoul's parade of grieving folk finding solace and then danger through a tenuous connection to the after-life.
    • 30 Metascore
    • 38 Michael Sragow
    The movie goes awry from the opening shots.
    • 29 Metascore
    • 25 Michael Sragow
    As a comic fable for hard times, New in Town is irredeemably moronic.
    • 29 Metascore
    • 0 Michael Sragow
    Here's my nomination for future grindhouse double-bill from hell: Pathfinder and "Apocalypto."
    • 28 Metascore
    • 25 Michael Sragow
    The film is so busy that every minute is exhausting. It's as if the filmmakers were idealistic teen-agers afflicted with a group case of Attention Deficit Disorder.
    • 28 Metascore
    • 25 Michael Sragow
    Timeline lacks potency, drive, wit and personality -- all the things that make escapism worthwhile.
    • 28 Metascore
    • 0 Michael Sragow
    There isn't an earned moment of uplift or laughter in the movie. Everything in it is prefab.
    • 27 Metascore
    • 38 Michael Sragow
    This movie makes it official: No matter how awful, even the networks and basic cable are now officially hipper than the studios.
    • 27 Metascore
    • 25 Michael Sragow
    Will have most audiences asking, "Can we leave now?"
    • 27 Metascore
    • 25 Michael Sragow
    The indisputably gifted Jim Carrey shows the side of him that just wants to be loved - the Riddler on Ritalin, the Mask unmasked. And it turns out to be stultifying.
    • 27 Metascore
    • 42 Michael Sragow
    Wild Hogs puts the "ick" into City Slickers.
    • 27 Metascore
    • 38 Michael Sragow
    This Women doesn't take place in reality or even in a glamorous urban fantasyland. It's strictly TV Land.
    • 27 Metascore
    • 42 Michael Sragow
    Now we get a lazy Eddie in Norbit, a lackluster attempt to make a gross-out romantic comedy. When I say lazy Eddie, I mean imaginatively lazy.
    • 26 Metascore
    • 100 Michael Sragow
    Twisted is an unusual forensic crime film because it's witty and sophisticated as well as taut and creepy.
    • 25 Metascore
    • 16 Michael Sragow
    Jane Fonda does an about-face on her persona and her talent, playing a teetotaler and, what's worse, a pious bore.
    • 25 Metascore
    • 42 Michael Sragow
    I managed to get through the biker extravaganza Hell Ride, a narcissistic piece of soft-core porn and macho camp, by mashing it together in my mind with the equally woeful, family-friendly biker comedy "Wild Hogs." After all, both are full of hellions gone to seed.
    • 25 Metascore
    • 38 Michael Sragow
    Like Adam Sandler's "Mr. Deeds," this is a hybrid, hipster-cornball movie that wants to celebrate common folk but unapologetically uses words like "trailer trash" to describe them.
    • 25 Metascore
    • 0 Michael Sragow
    Venom isn't worth a critic's venom, but a brief condemnation is in order.
    • 25 Metascore
    • 38 Michael Sragow
    Manipulates the audience.
    • 24 Metascore
    • 25 Michael Sragow
    Adam Sandler does Frank Capra wrong. His unfunny remake stomps all over the honest values and endearing qualities of the original.
    • 24 Metascore
    • 25 Michael Sragow
    Bride Wars has possibly the worst comedy idea since "Springtime for Hitler," with almost no room for redeeming camp.
    • 24 Metascore
    • 42 Michael Sragow
    Newcomers to the Mike Myers experience will leave this love train early.
    • 23 Metascore
    • 25 Michael Sragow
    Finds it as impossible to locate a laugh in glittering Bora Bora as it was for Operation Enduring Freedom to nail Osama bin Laden in gritty Tora Bora.
    • 23 Metascore
    • 38 Michael Sragow
    It has graceful layers and folds and a nice swing to it, and Jackson moves superbly in it. Unfortunately, I'm talking about the kilt, not the movie.
    • 23 Metascore
    • 33 Michael Sragow
    A catastrophically messy action-movie mash-up.
    • 21 Metascore
    • 38 Michael Sragow
    Most of the film is one big blooper reel. There's not enough of a gap between the rejects and the finished movie.
    • 20 Metascore
    • 25 Michael Sragow
    The only way sober adults will keep awake is wondering how the lead mobsters on "The Sopranos" -- who also are amateur film critics -- will rank the movie next year on HBO.
    • Baltimore Sun
    • 19 Metascore
    • 25 Michael Sragow
    Dr. Seuss' The Cat in the Hat is gorged with shtick and gadgetry. When it comes to highlighting everything better left in the dark, it makes even the Matrix sequels look like works of genius.
    • 19 Metascore
    • 0 Michael Sragow
    It's stupefying in its dullness and vulgarity.
    • 19 Metascore
    • 25 Michael Sragow
    The collateral damage of action products like Ballistic is to the sensibility of the audience.
    • Baltimore Sun
    • 18 Metascore
    • 25 Michael Sragow
    Excruciating...The movie proves to be singularly unfunny and static almost from the non-get-go. Virtually nothing happens; the movie is all premise.
    • 17 Metascore
    • 25 Michael Sragow
    Bullock does her damndest to be nerdy and instead becomes excruciatingly artificial - a malfunctioning verbal fun machine.
    • 14 Metascore
    • 25 Michael Sragow
    There's something junior varsity about the whole sensibility that makes the new version seem more dated than the old one.

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