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
    • 81 Metascore
    • 75 Michael Sragow
    Casino Royale marks a shrewd relaunching of a franchise. But Campbell and company show too much of their sweat. If these movies continue to follow Fleming's profane pilgrim's progress, the next Bond movies should be more emotional and funny, with a bit of brass-knuckled charm.
    • 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.
    • 64 Metascore
    • 75 Michael Sragow
    Freedom Writers is the rare inspirational-teacher film that is filled with genuine, jaw-dropping coups of real-life poetry.
    • 72 Metascore
    • 75 Michael Sragow
    Touching and insightful.
    • 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.
    • 82 Metascore
    • 75 Michael Sragow
    Making you feel the presence of absences - of the distant and the departed, of dreams that never quite come true - is the key thing that this uneven film gets exactly right.
    • 73 Metascore
    • 75 Michael Sragow
    Surprisingly moving and intellectually satisfying.
    • 47 Metascore
    • 75 Michael Sragow
    Uneven and affecting movie.
    • 68 Metascore
    • 75 Michael Sragow
    The original French title is "La Doublure," but The Valet fits Veber. He has become a one-man service industry when it comes to spreading Gallic barbed humor and good cheer.
    • 61 Metascore
    • 75 Michael Sragow
    The movie needs more incident and complication; it's modest to a fault.
    • 80 Metascore
    • 75 Michael Sragow
    Few films even try to render the full range of emotions and sensations in female sexuality as the aptly titled Lady Chatterley, directed and co-written by a Frenchwoman, Pascale Ferran.
    • 64 Metascore
    • 75 Michael Sragow
    You Kill Me kills you softly with its smiles.
    • 65 Metascore
    • 75 Michael Sragow
    The movie is full of holes - it lacks the precision and verve of a Francis Veber farce like "The Dinner Game" - but the two actors brew up a sane kind of comedy from their fractious rapport.
    • 67 Metascore
    • 75 Michael Sragow
    The movie doesn't add up to much, but it's an effervescent expression of an odd brute-hummingbird sensibility.
    • 67 Metascore
    • 75 Michael Sragow
    The movie maintains its comical, rocky equilibrium as long as the screenwriter, Dean Craig, sticks to domestic disasters and a Monty Python parody of "Cat on a Hot Tin Roof."
    • 76 Metascore
    • 75 Michael Sragow
    The movie is best when everything is up in the air.
    • 74 Metascore
    • 75 Michael Sragow
    Because Bar-Lev fails to go the extra mile either as a filmmaker or a friend, My Kid Could Paint That is at best "documentary silver."
    • 75 Metascore
    • 75 Michael Sragow
    The whole movie swings broadly from slapstick and mock suspense to song. But the film develops a strong amorous undertow; Kelly's script neatly allows for all the potential couples to get the fate or comeuppance they deserve.
    • 52 Metascore
    • 75 Michael Sragow
    Redacted is a bristling act of protest that obliterates a target it isn't aiming for.
    • 66 Metascore
    • 75 Michael Sragow
    Kingsley dims divine Elegy.
    • 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.
    • 61 Metascore
    • 75 Michael Sragow
    he Kite Runner lives in the galvanic performances of two young Afghan actors, Zekeria Ebrahimi and Ahmad Khan Mahmidzada. They bring home the torment of Afghan life before and after the Taliban and, just as important, the resilience of children everywhere.
    • 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.
    • 74 Metascore
    • 75 Michael Sragow
    As Laura, Rueda hits sublime notes of confusion, grief and wrath. She's sympathetic enough to make you root for her and complex enough to get you arguing afterward about whether Laura did anything to deserve all this.
    • 69 Metascore
    • 75 Michael Sragow
    The movie conveys the drama of the moment but eschews context. The result is an arresting yet frustrating experience.
    • 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.
    • 62 Metascore
    • 75 Michael Sragow
    The filmmakers capture kids and adolescents who haven't hardened their feelings into attitudes or molded their gestures into poses.
    • 72 Metascore
    • 75 Michael Sragow
    Tautou's kind of talent: priceless.
    • 56 Metascore
    • 75 Michael Sragow
    Feisty and good-humored, and if it doesn't have deep characters, it is chock-full of personality.
    • 67 Metascore
    • 75 Michael Sragow
    Forgetting Sarah Marshall lacks snap, tension and bravura...Yet the movie is novel and big-hearted. It often succeeds at substituting a smorgasbord of psychological confusions for comic architecture.

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