Julie Salamon
Select another critic »For 95 reviews, this critic has graded:
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49% higher than the average critic
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3% same as the average critic
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48% lower than the average critic
On average, this critic grades 2.6 points lower than other critics.
(0-100 point scale)
Julie Salamon's Scores
- Movies
- TV
| Average review score: | 63 | |
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| Highest review score: | The Piano | |
| Lowest review score: | Lethal Weapon 3 | |
Score distribution:
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Positive: 51 out of 95
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Mixed: 31 out of 95
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Negative: 13 out of 95
95
movie
reviews
- By Date
- By Critic Score
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- Julie Salamon
A brilliant mess, I suppose, in the way that seriously disturbed people can sometimes deliver a briefly mesmerizing vision of the universe while babbling. If nothing else, Natural Born Killers is the most in-your-face movie ever released by a major Hollywood studio. [25 Aug 1994, p.A10]- Wall Street Journal
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- Julie Salamon
There weren't any surprises and that's what made it all so comforting. The bad guys got blown away, no questions asked, the snoopy journalists got their comeuppance. When Clint spends the night with his latest girl, you know it only because he wears the same suit the next morning. [21 Jul 1988, p.1]- Wall Street Journal
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- Julie Salamon
But even as the film's weaknesses make themselves more and more apparent, so does Mr. Turturro's virtuosity. [15 Aug 1991, p.A10(E)]- Wall Street Journal
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- Julie Salamon
It's a little precious and a little boring, but he has brought out an interesting performance from Adrienne Shelly, who convincingly pulls off a transformation from aimless pregnant teenager to purposeful young woman. [05 Sep 1991]- Wall Street Journal
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- Julie Salamon
Matching Danny DeVito and Arnold Schwarzenegger is an amusing conceit played out in an entirely predictable fashion. It certainly isn't harmful, and Mr. Schwarzenegger is kind of cute when he smiles. [8 Dec 1988, p.1]- Wall Street Journal
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- Julie Salamon
A brilliant but completely muddled concoction about the relationship between fantasy and reality. [16 Jul 1992]- Wall Street Journal
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- Julie Salamon
Actually, maybe the movie is better than it seems to be -- I just couldn't understand what anyone was saying. The dialogue came across as clear as schoolyard chatter during recess -- and just about as pleasant to listen to. There is a water slide, a pirate ship and an amusing little chubbikins (Jeff Cohen) who squirts Reddi Wip directly into his mouth. [20 Jun 1985, p.1]- Wall Street Journal
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- Julie Salamon
The director Penny Marshall has a gently persuasive touch that keeps the movie's most brazen manipulations from being too offensive. [02 Jun 1994]- Wall Street Journal
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- Julie Salamon
These fraternal film makers have a lot of imagination and sense of fun - and, most of all, a terrific sense of how to manipulate imagery... But sometimes they seem to be getting too big a kick out of their own shenanigans. By the end, the fun feels a little forced. [26 Mar 1987, p.34(E)]- Wall Street Journal
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- Julie Salamon
These are very small pleasures, indeed, that can be taken as gasps of air in a movie that unwinds for what seems like forever in a complete vacuum. [23 Jun 1994, p.A12]- Wall Street Journal
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- Julie Salamon
Wall Street is a silly, pretentious melodrama that panders to the current fascination with insider trading. [10 Dec 1987, p.1]- Wall Street Journal
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- Julie Salamon
As a metaphysical exploration of otherworldliness, Jacob's Ladder has a kind of morbid intensity, for those who like that sort of thing. The picture flounders, however, with its insistence on injecting a little politics into the paranormal brew. [1Nov 1990, p.A20]- Wall Street Journal
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- Julie Salamon
Everyone on screen is relentlessly gloomy, as if parched for a drop of wit, which isn't forthcoming.- The New York Times
- Read full review
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- Julie Salamon
This is all very strange and a little tedious. Yet there is something arresting and oddly poignant in Mr. Van Sant's playful vision of the road to nowhere. [3 Oct 1991, p.A14(E)]- Wall Street Journal
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- Julie Salamon
The picture's blandness - and hollowness - is startling when you consider the collaborators. [26 Nov 1986]- Wall Street Journal
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- Julie Salamon
UHF, a parody of trash television, is almost defiantly silly, but when it's funny it is very funny. This sloppy, good-natured satire certainly doesn't threaten "Network's" status as the classic decimation of the television business. [27 Jul 1989, p.1]- Wall Street Journal
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- Julie Salamon
It's just that the picture doesn't have a strong idea behind it, just a fog of many half-expressed ideas. [26 Feb 1987, p.20(E)]- Wall Street Journal
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- Julie Salamon
Mr. Murray and his co-director, Howard Franklin, who adapted Jay Cronley's novel for the screen, succeed mainly in illuminating what made them want to direct the material. At least this picture struggles to emit a few gasps of fresh air as it goes down. [19 Jul 1990, p.A8]- Wall Street Journal
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- Julie Salamon
Hoffman and Beatty are so tone-deaf they don't even know how to play the songs for deadpan humor. They seem old, white, and without shtick. [14 May 1987, p.26(E)]- Wall Street Journal
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- Wall Street Journal
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- Julie Salamon
The story wanders unconvincingly and tediously into corporate law offices and big, splashy nightclubs. Still, Mr. Hackford has the documentary maker's eye for realistic detail, so it all looks right. [01 Mar 1984]- Wall Street Journal
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- Julie Salamon
The only thing Mr. Tarantino spells out is the violence. I have seen much more blood spilled, yet I felt sickened by the coldness of this picture's visual cruelty. [29 Oct 1992, p.A11(E)]- Wall Street Journal
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- Julie Salamon
By most standards of conventional film narrative, this movie is a mess. [25 June, 1987, p.22(E)]- Wall Street Journal
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- Julie Salamon
The makers of Return to Oz say that their rather bleak, nonmusical fantasy is more faithful to Mr. Baum's vision than "The Wizard of Oz" was. What's appropriate, however, isn't always what's right. All Ms. Balk can do is look earnest and young; Ms. Garland opened her mouth and out came Dorothy's soul.- Wall Street Journal
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- Julie Salamon
Despite all of its failures of wit, sense, and pace, the film does most effectively flaunt the millions spent on it. The inane action takes place in splendiferous settings. [23 May 1991]- Wall Street Journal
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- Julie Salamon
I didn't mind the preposterousness of the premise nearly so much as the general ineptness with which it's presented. After all, good trash has its place. [8 Dec 1994, p.A16]- Wall Street Journal
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- Julie Salamon
Don't bother to see this film unless you expect to be tested in film class about the Coens' serial dissertation on American cinema. [10 Mar 1994, p.A16]- Wall Street Journal
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- Julie Salamon
Maybe the worst part (there's so much to choose from) is the sight of a good actor like Edward Herrmann parading around looking like a demented quarterback, the shoulders of his suit jacket grotesquely padded. Mr. Schumacher has dressed the adorable Corey Haim in even weirder getups, jackets with pastel stripes and little outfits that resemble dresses. The vampires aren't nearly as creepy as those clothes. [6 Aug 1987, p.1]- Wall Street Journal
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- Julie Salamon
This time Rambo pulls off his superhuman Soviet-blasting stunts in Afghanistan, not quite as late on the scene as he was in Vietnam. Not very exciting; very noisy. [2 Jun 1988, p.1]- Wall Street Journal
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- Julie Salamon
Doc says: "I can't believe this is happening." …That sentence may be the only one uttered in the entire film that contains an ounce of true feeling. Certainly that was the thought on my mind as I watched this depressing rehash of material that seemed original just five years ago, when it was. And "I can't believe this is happening" seemed to be what most of the actors were thinking as they gamely trudged through their paces yet again. [31 May 1990, p.A12]- Wall Street Journal
