Marc Savlov

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Austin Chronicle
For 2,177 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 12 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Dunkirk
Lowest review score: 0 Darkness
Score distribution:
  1. Positive: 1,039 out of 2177
  2. Mixed: 612 out of 2177
  3. Negative: 526 out of 2177
2177 movie reviews
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    • 76 Metascore
    • 40 Marc Savlov
    99 Homes
    Iwish I could say 99 Homes delivers a shockingly good sucker punch to the American electorate and a stand-up-and-cheer piece of socially conscious filmmaking, but it’s not. It lacks the satisfactory denouement of, for instance, Michael Mann’s The Insider (and Garfield is no Russell Crowe), in part because the events it depicts are still happening across the country (albeit to a lesser extent).
    • 65 Metascore
    • 67 Marc Savlov
    Deathgasm
    Peppered with clever, self-referential one-liners that whip by almost too fast to catch them, Deathgasm is – like most metalheads/punks/Morrissey fans – a helluva lot smarter than one might at first suspect.
    • 81 Metascore
    • 78 Marc Savlov
    Coming Home
    Set against the gray backdrop of Mao’s Cultural Revolution, this is old-school melodrama writ big from a director who’s probably better known to mainstream American audiences as the man behind the spectacular Wushu action epics Hero, House of Flying Daggers, and Curse of the Golden Flower.
    • 74 Metascore
    • 78 Marc Savlov
    The New Girlfriend
    Duris and Demoustier are excellent in a pair of exceedingly complex and emotionally fractious roles, and Ozon’s supremely confident directorial hand and clear affection for these characters transforms The New Girlfriend from a could’ve-been psycho-thriller into a smart, humanistic examination of identity reshaped in the shadow of grief.
    • 38 Metascore
    • 30 Marc Savlov
    The Green Inferno
    The Green Inferno feels like a retread of a retread.
    • 36 Metascore
    • 20 Marc Savlov
    Captive
    An odd mix, to be sure, but full-tilt performances from Mara, as meth-addicted, widowed mom-cum-kidnappee Ashley Smith, and Oyelowo, playing the stone-cold killer turned cornered kidnapper Brian Nichols, help this spiritual thriller rise (very slightly) above other, more hamfisted, heaven-friendly fare.
    • 58 Metascore
    • 67 Marc Savlov
    Wolf Totem
    Cinematographer Jean-Marie Dreujou has shot the ridiculously photogenic grasslands in truly spectacular IMAX 3-D, and rarely have I seen it done better.
    • 49 Metascore
    • 40 Marc Savlov
    Cooties
    It’s fun, but it’s no "Class of Nuke ’Em High."
    • 81 Metascore
    • 78 Marc Savlov
    Goodnight Mommy
    An unnerving descent into the extreme, anxious corners of a mother’s relationship to and comprehension of her 9-year-old twin sons – and vice versa – gone weirdly haywire, Goodnight Mommy is required viewing for both lovers of neo-gothic paranoia and mommy-haters everywhere.
    • tbd Metascore
    • 50 Marc Savlov
    Un Gallo Con Muchos Huevos
    Viewed entirely on the exceptional virtues of its CGI animation (flashbacks occur via traditional, hand-drawn animation) and its occasionally raunchy humor, Un Gallo con Mucho Huevos is a small gem of a film. But its trivialization of cockfighting will surely be a rightful stumbling block for many potential audience members.
    • 50 Metascore
    • 50 Marc Savlov
    Bloodsucking Bastards
    While this isn’t anywhere near a classic of the comedy-horror genre, it’s still a well-written work of splatstick that’s more downright engaging than 90% of the “serious” (i.e., mediocre) horrors that have flooded theatres of late.
    • 38 Metascore
    • 30 Marc Savlov
    No Escape
    For all its genuine thrill-ride gestalt, No Escape completely short-shrifts its Southeast Asian players. There’s exactly one Asian character of note, a Kenny Rogers-loving tuk-tuk driver (Boonthanakit). Everyone else is a nameless victim of the equally nameless mob.
    • 32 Metascore
    • 40 Marc Savlov
    Sinister 2
    Not half as terrifying as Norwegian black metal, but still one of the better found footage-gimmicked sequels in recent memory.
    • 72 Metascore
    • 67 Marc Savlov
    Being Evel
    Junge’s ridiculously entertaining documentary includes a wealth of archival clips that still, after all these years, make you wince.
    • 50 Metascore
    • 40 Marc Savlov
    American Ultra
    By turns sweet, sadistic, and silly, American Ultra will probably make a stronger impression if you watch it while high.
    • 92 Metascore
    • 100 Marc Savlov
    The Look of Silence
    Harrowing and important documentary.
    • 51 Metascore
    • 50 Marc Savlov
    Meet Me in Montenegro
    Director of photography Robert Murphy deserves a Spirit Award of his own for his breathtaking and evocative lensing of ever-cinematic Berlin and Montenegro, and Stephen Coates’ melancholic score is equally suited to the story at hand.
    • 72 Metascore
    • 78 Marc Savlov
    Straight Outta Compton
    Buoyed by a soundtrack that’ll have fortysomethings cracking open 40-ounces and recalling a marginally simpler, if still chaotic, time in their lives, Straight Outta Compton’s bark is just as snarly-cool as its bite. Take that, Tipper Gore.
    • 27 Metascore
    • 11 Marc Savlov
    Fantastic Four
    Steer clear, Friends of Ol’ Marvel!
    • 77 Metascore
    • 78 Marc Savlov
    The Gift
    The Gift, a psychological roller coaster on a doomed track, is one of the best directorial debuts in ages, hands down.
    • 66 Metascore
    • 67 Marc Savlov
    Cop Car
    Director Watts has a background in comedy direction, and a thin, sticky stream of exceptionally dark humor flows through the otherwise gut-churning realism of Cop Car.
    • 72 Metascore
    • 89 Marc Savlov
    Alléluia
    Dueñas and Lucas give knockout performances as two twisted souls seemingly locked in a match to the death to determine who is the madder one. I’ll call it a tie, and I’ll also say Alleluia is a grotesque masterpiece. L’amour fou, indeed.
    • 85 Metascore
    • 89 Marc Savlov
    Amy
    The gut-wrenching Amy is, in the end, as much an indictment of our celebrity-obsessed (global) pop culture as it is of the perils of rampant success arriving unexpectedly fast, tires squealing and driving a hearse.
    • 38 Metascore
    • 30 Marc Savlov
    Terminator Genisys
    Terminator: Genisys is a catastrophic misfire on nearly all counts. It’s only saving grace? 2015 Oscar winner J.K. Simmons (Whiplash) as a Mulder-gone-to-pot-esque cop who believes in these “goddamn time-traveling robots.”
    • 48 Metascore
    • 40 Marc Savlov
    Ted 2
    The outcome is no great surprise, and plenty of the gags feel as though they were meant to be throwaways, but Ted 2, exactly like its predecessor, has plenty of heart, which makes all the rest of the black-dick jokes marginally more tolerable.
    • 75 Metascore
    • 78 Marc Savlov
    The Wolfpack
    By the time this harmless but possibly harmed pack of pups is seen approaching the Atlantic Ocean at Coney Island for the very first time – “Look at that, there’s people all over the beach,” one brother nervously mutters – it’s clear that there are second acts, and more, in American lives, even ones so borderline freakish as the ones presented here.
    • 59 Metascore
    • 50 Marc Savlov
    Jurassic World
    It’s all in good fun, and critic-proof to boot, but Jurassic World doesn’t even come close to that most intimate and dearly coveted “Gosh, wow” sense-of-wonder that the original film mustered so easily. Roar more, bite less.
    • 72 Metascore
    • 40 Marc Savlov
    When Marnie Was There
    This is, disappointingly, a long way from being a Studio Ghibli classic. The essential plot may be archetypal, but it’s no "Kiki’s Delivery Service."
    • 75 Metascore
    • 50 Marc Savlov
    Spy
    This is a different sort of comedy that more or less succeeds on its own terms, despite that fact that you find yourself rooting for the post-Snowden CIA.
    • 43 Metascore
    • 20 Marc Savlov
    San Andreas
    San Andreas, by its very nature, begs, borrows, and outright steals from other, occasionally better, disaster epics.
    • 5 Metascore
    • 11 Marc Savlov
    The Human Centipede III (Final Sequence)
    Bad writing, shoddy effects work, and Laser’s nonstop shouting of every single line of dialogue do not add up to a transgressive statement about the American for-profit prison system, but instead achieve the dubious honor of being the most annoyingly in-your-face horror flick of the year thus far.
    • 90 Metascore
    • 100 Marc Savlov
    Mad Max: Fury Road
    Unstoppable and righteous, it roars across the no-lane hardpan like the four-iron horseman of the kinetic apocalypse, amped up on bathtub crank and undiluted movie love. Oh, what a movie. What a lovely movie!
    • 75 Metascore
    • 50 Marc Savlov
    Lambert & Stamp
    At times, it’s a bit like being cornered and regaled by actor Bill Nighy’s aging rocker Billy Mack from "Love Actually," but certainly more interesting, and a rewarding and informative document of some unlikely visionaries of maximum rock & roll.
    • 50 Metascore
    • 40 Marc Savlov
    The Water Diviner
    A far more profound and moving film about this particularly Aussie/Kiwi campaign (and one that will probably never be topped) is Peter Weir’s devastating Gallipoli, starring a very young Mel Gibson. Given the choice, I’ll take that over Crowe’s earnest bombast any day.
    • 59 Metascore
    • 40 Marc Savlov
    Unfriended
    Unfriended provides a modicum of chills and more gore than you’d expect.
    • 72 Metascore
    • 78 Marc Savlov
    Monkey Kingdom
    Hey, hey, it’s the monkeys that rule this particular spot on the Earth, and watching them monkey around is a G-rated trip and a half. And with Tina Fey’s enthusiastic narration, you might even learn something, too.
    • 81 Metascore
    • 89 Marc Savlov
    A Girl Walks Home Alone at Night
    It’s a spooky, moody doozy of a debut, lensed by Director of Photography Lyle Vincent in a radiant monochrome that somehow makes even the darkness sparkle.
    • tbd Metascore
    • 67 Marc Savlov
    Freetown
    Cinematographer Jeremy Prusso catches some stunning imagery, Robert Allen Elliott’s score is genuinely stirring, and the cast, most of whom are from Monrovia, is uniformly excellent.
    • 77 Metascore
    • 78 Marc Savlov
    The Hunting Ground
    This is an emotionally devastating piece of advocacy journalism, as it should be. It should also be mandatory viewing for both college-age teens and their parents.
    • 67 Metascore
    • 67 Marc Savlov
    Furious 7
    Furious 7 is, to put it succinctly, a rush and a half.
    • 34 Metascore
    • 11 Marc Savlov
    Get Hard
    Beyond a leper’s handful of jokes that actually connect, this might as well be Ferrell’s most abysmal piece of work since the disastrous "Land of the Lost."
    • 83 Metascore
    • 78 Marc Savlov
    Red Army
    The U.S. won the Olympic gold, but as seen here, the Russians’ story is by far the more genuinely Olympian, making this a handy victory over all previously told accounts of that so-called miracle.
    • 83 Metascore
    • 89 Marc Savlov
    '71
    Take the politics out and you’d still have a powerhouse action film. But please, don’t take the politics out.
    • 51 Metascore
    • 40 Marc Savlov
    The Second Best Exotic Marigold Hotel
    The appearance of Richard Gere as a new guest whom everybody assumes is a plant from the multinational hotel chain that Muriel and Sonny have been wooing is straight out of the “Hotel Inspectors” episode of Fawlty Towers. Where’s John Cleese when you really need him?
    • 92 Metascore
    • 89 Marc Savlov
    Leviathan
    Vladimir Putin’s Russia – brutal, carnivorous, delusional, but monstrously well-evolved for crushing both spirits and lives large and small – is taken to task in this excoriating portrait of the state’s omnivorous hunger for control in a far-flung northern fishing community on the Barents Sea.
    • 76 Metascore
    • 78 Marc Savlov
    What We Do in the Shadows
    A gently parodic tone prevails throughout what is ultimately a pretty sweet take on bloodsuckers, even as Deacon and Nick flap their way through a “bat fight” (exactly what it sounds like) and the vamps face off against a pack of similarly esteem-challenged werewolves led by Conchords manager Rhys Darby.
    • 60 Metascore
    • 67 Marc Savlov
    McFarland USA
    Set in 1987, this inspirational Disney sports film (that’s a niche, but a growing one) hits all the schmaltzy, sappy notes you’d expect, but never falls to its knees under the burden.
    • 30 Metascore
    • 40 Marc Savlov
    Seventh Son
    This rambunctious swords ’n’ sorcerers fantasy flick has grubby, pseudo-medieval CGI style to burn, but precious little in the way of anything new to add to this sort of genre storytelling.
    • 87 Metascore
    • 78 Marc Savlov
    The Duke of Burgundy
    The Duke of Burgundy doubles down on the genre conventions and ends up being all the better for it. That’s thanks in large part to the score by the UK group Cat’s Eye, the two flawless lead performances, and cinematographer Nicholas D. Knowland’s keen eye for creating a more-than-acceptable simulacrum of Franco and Rolin’s hallucinatory, dreamlike vibes.
    • 40 Metascore
    • 30 Marc Savlov
    Jupiter Ascending
    While the totality of Jupiter Ascending is just too much for its own massive narrative heft to support, kudos to the Wachowskis for beating back against mainstream Hollywood by casting actors of all races and genders in key roles, something they’ve been doing since their 1996 debut "Bound."
    • 62 Metascore
    • 40 Marc Savlov
    Black Sea
    Black Sea is cluttered and claustrophobic in all the right ways, and it doubles as a watery jeremiad against global corporate malfeasance. Still, you walk away from the film with the niggling sense that the story never quite holds your attention the way it should.
    • 58 Metascore
    • 67 Marc Savlov
    Amira & Sam
    It may not be spring yet, but this sweet little gem of a movie is the perfect antidote to that lengthy stretch of grimy gray weather Austin endured a while back.
    • 57 Metascore
    • 50 Marc Savlov
    R100
    Heady stuff, indeed, but perfect midnight-date movie fare if you’re, uh, in the mood.
    • 77 Metascore
    • 89 Marc Savlov
    Paddington
    There are so many terrific things going on in the film – rapid-fire wordplay, split-second visual gags, and some veddy, veddy British punning – that, frankly, Paddington deserves more than one viewing. Huzzah Paddington, and marmalade forever!
    • 42 Metascore
    • 30 Marc Savlov
    The Woman in Black 2: Angel of Death
    What’s missing from The Woman in Black 2, and what it needs most and has least of all, is suspense.
    • 55 Metascore
    • 67 Marc Savlov
    The Gambler
    Wahlberg brings an intense, often internalized performance to a wickedly written role, and while he’s no James Caan, he’s certainly able to infuse this mesmerizing character study with enough rancid brio to make this self-flagellating hustler believably doomstruck.
    • 62 Metascore
    • 67 Marc Savlov
    Big Eyes
    This is Burton’s most mainstream film to date, which isn’t to say it’s not an eccentrically entertaining ride. It is, but minus the kooky occult élan you expect from the man who made "Edward Scissorhands." It’s a Lifetime movie, as directed by, well, you know who.
    • 59 Metascore
    • 78 Marc Savlov
    The Hobbit: The Battle of the Five Armies
    The performances have remained continuously excellent throughout The Hobbit trilogy, and they remain so here; likewise Howard Shore’s score, which is particularly righteous – bloodthirsty when it needs to be, keening when a particularly major character is cut down.
    • 52 Metascore
    • 67 Marc Savlov
    Exodus: Gods and Kings
    Exodus is an entertainment of the first order. I’m not so sure about the filmmaker’s decision to render the Metatron archangel as a 9-year-old boy, but what the hell? You get hit on the head with a boulder, who knows what you’ll see?
    • tbd Metascore
    • 78 Marc Savlov
    Uzumasa Limelight
    It’s Fukumoto’s wonderfully weathered countenance that makes Ochiai’s film such an elegiac delight. On it, you can see the entire history of samurai cinema, or at least that essential part of it that died often, and beautifully so.
    • 79 Metascore
    • 78 Marc Savlov
    Glen Campbell: I'll Be Me
    Ultimately, I’ll Be Me is both an unconventional tribute to this American icon and a deep-down cri de coeur for more research on viable ways to retard the progression of Alzheimer’s and perhaps one day find a reliable cure. No one’s getting any younger, after all.
    • 68 Metascore
    • 89 Marc Savlov
    Why Don't You Play in Hell?
    Why Don’t You Play in Hell? isn’t for everyone, but neither was Stravinsky’s "The Rite of Spring." Genius is genius, no matter how many audience members may riot.
    • 47 Metascore
    • 78 Marc Savlov
    Open Windows
    Open Windows has plenty to say about both the death of privacy and the dominion of the always-connected digiverse we now inhabit, and editor Bernat Vilaplana does a remarkable job of keeping the film’s frenetic pace rushing headlong toward an ending that you’ll never see coming.
    • 88 Metascore
    • 89 Marc Savlov
    Citizenfour
    Citizenfour is obviously in Snowden’s corner, but as an example of pure cinema vérité, this is the finest – and most disturbing – political documentary since Alex Gibney’s Oscar-winning "Taxi to the Dark Side."
    • 38 Metascore
    • 11 Marc Savlov
    Ouija
    Hasbro’s long-lasting occult board game gets its own starring role in a film that makes those other recent Hasbro plaything adaptations – namely "Transformers" and "G.I. Joe" – look like triumphs of subtly engineered cinematic magic.
    • 22 Metascore
    • 30 Marc Savlov
    Exists
    The creature’s big reveal is masterfully handled and a final revelation is exceptionally memorable, but the characters, unsurprisingly, remain interchangeable with those of any number of other teens-in-peril pics.
    • 73 Metascore
    • 89 Marc Savlov
    The Blue Room
    The Blue Room is mesmerizing, psychologically complex, and, at the very end, viscerally devastating. They don’t make them like this much anymore, but they should.
    • 89 Metascore
    • 89 Marc Savlov
    The Overnighters
    A third-act revelation will knock viewers silly and cause them to reevaluate everything that’s come before, but even without that jaw-dropping information, Moss’ film is a righteous piece of empathetic, of-the-moment documentary filmmaking.
    • 64 Metascore
    • 50 Marc Savlov
    Fury
    Fuller’s film is inarguably a stone-cold classic of the genre, but Fury, for all its cacophonous chaos and half-crazed characters, never quite reaches the shellshocked heights required to make it a bona fide pillar of cinematic combat.
    • 22 Metascore
    • 30 Marc Savlov
    Brush with Danger
    The Indonesian-born brother/sister filmmaking duo of Ken and Livi Zheng scores high points for creating a new take on the undocumented-immigrant badass story (hola, Machete), and for their obvious martial arts skills, but this first feature from the pair is ultimately hobbled by a paucity of credible acting.
    • 60 Metascore
    • 40 Marc Savlov
    Kill the Messenger
    It’s a worthy effort, and Webb’s story is important. Nevertheless, Kill the Messenger feels extremely dated: In these cynical times, it’s too little, too late, which is too bad.
    • 40 Metascore
    • 30 Marc Savlov
    Dracula Untold
    Another addition to Universal’s Pictures Classic Monsters arsenal of crap (remember Van Helsing?), director Shore, in his feature debut, displays a fine sense of pacing but little else.
    • 37 Metascore
    • 30 Marc Savlov
    Annabelle
    While it’s possible that Annabelle might give a few audience members goosebumps, anyone who’s ever seen "Rosemary’s Baby" –or pretty much any film James Wan’s had a hand in since helming 2007’s "Dead Silence", the "Saw" franchise excepted – will figure out what’s going on within the first 30 minutes.
    • 83 Metascore
    • 78 Marc Savlov
    20,000 Days on Earth
    What’s great about this “documentary” – Cave gets a script credit alongside the directors, which kind of invalidates the whole notion of hands-off documentary filmmaking – is that it delves deeply into Cave’s notoriously fussy creative process without ever becoming stodgy or dull.
    • 79 Metascore
    • 89 Marc Savlov
    Gone Girl
    Fantasies and phantasms aside, Fincher proves himself yet again to be a better cinematic psychologist of (in-)human nature than almost any other director alive. It’s another squirmily excellent date movie from hell, courtesy of contemporary cinema’s most overt nihilist.
    • 76 Metascore
    • 78 Marc Savlov
    The Guest
    With The Guest, Wingard and Barrett have once more upped the ante for the indie horror flick pack.
    • 61 Metascore
    • 20 Marc Savlov
    The Boxtrolls
    The Boxtrolls feels rough-and-tumble and not as much fun by half.
    • 57 Metascore
    • 40 Marc Savlov
    A Walk Among the Tombstones
    With A Walk Among the Tombstones, the names have been changed but the story’s all too familiar. Speaking of which, "Taken 3" is on its way.
    • 82 Metascore
    • 89 Marc Savlov
    Love Is Strange
    There are many questions raised and answered in this film, but one that isn’t is why on Earth it’s garnered an R rating. Love Is Strange is anything but. It’s a seriocomic romance of the most genteel sort, full of heartfelt “I love yous,” brief (and definitely unerotic) snuggling, and a wealth of tremendously fine acting from all involved.
    • 69 Metascore
    • 40 Marc Savlov
    The Drop
    James Gandolfini’s wintery silences and bitter outbursts are enough on their own to merit seeing this otherwise frustratingly vague slice of low-end Crooklyn crime life, but just barely.
    • 26 Metascore
    • 11 Marc Savlov
    Innocence
    Innocence certainly has all the right genre conventions to toy with, but the haphazard script by Brougher and Tristine Skyler is a bloody mess.
    • 76 Metascore
    • 78 Marc Savlov
    The Dance of Reality
    Crammed to bursting with the director’s trademark magical realism. Occasionally marred by budgetary constraints, this is nevertheless a welcome return for an artist who truly deserves the sobriquet: El Maestro.
    • 79 Metascore
    • 89 Marc Savlov
    Jodorowsky's Dune
    As a documentary on the origins and backstory of the unfilmed film, Jodorowsky’s Dune is unsurpassable. More than that, however, it also allows audiences a rare glimpse inside the furiously creative mind of Jodorowsky, who still, at 84, is a wonderfully mad genius of the moving image.
    • 83 Metascore
    • 89 Marc Savlov
    Under the Skin
    What makes Under the Skin such a mind-blower has everything to do with Johansson’s chillingly unempathetic turn as the, well, whatever she is, coupled with cinematographer Daniel Landin’s disorienting, hallucinogenic visuals.
    • 61 Metascore
    • 40 Marc Savlov
    Oculus
    Oculus never quite resolves into the image of horror it clearly wishes to be. Kudos, though, to cinematographer Michael Fimognari and score composers, the Newton Brothers – all of whom provide a fertile audiovisual background for Flanagan’s film.
    • 61 Metascore
    • 50 Marc Savlov
    Nymphomaniac: Volume II
    Not an easy film to love and politically incorrect to the hilt, it nevertheless leaves its mark on you – and it’s rarely, if ever, dull.
    • 70 Metascore
    • 67 Marc Savlov
    Captain America: The Winter Soldier
    At over two hours, The Winter Soldier could have easily been trimmed by a good 20 minutes, but if it’s spectacular imagery and duplicitous goings-on that you crave, the film will not disappoint.
    • 64 Metascore
    • 78 Marc Savlov
    Nymphomaniac: Volume I
    The filmmaker brings neither condescension nor moral outrage here. A father confessor to his benighted characters, von Trier may revel in the muck, but Nymphomaniac: Volume 1 is anything but a dirty movie.
    • 76 Metascore
    • 67 Marc Savlov
    Tim's Vermeer
    With its brief running time and revelatory story, this neat, fascinating documentary ought to be required viewing for art history students everywhere.
    • 63 Metascore
    • 67 Marc Savlov
    Cheap Thrills
    Erich von Stroheim might have made the definitive film about human swinishness way back in 1924 – sorry, Gordon Gekko – but Cheap Thrills cuts deeper, darker, and straight to the bone.
    • 61 Metascore
    • 67 Marc Savlov
    Grand Piano
    That it all ends on a somewhat flat, false note is less a failure of the filmmakers than it is a testament to a certain amount of overzealousness in the screenplay – which, of course, echoes the nail-gnawing tension unfolding onscreen. Bravo!
    • 48 Metascore
    • 78 Marc Savlov
    300: Rise of an Empire
    While very much a “hard R” movie, Rise of an Empire is, nevertheless, the perfect sort of film for rainy weekend afternoons. It’s a spectacle right down to its shattered ships and duplicitous warcraft, and this time out the story’s been leavened and enlivened with plenty of old-school girl power.
    • 83 Metascore
    • 89 Marc Savlov
    The Wind Rises
    It speaks to both the head and the heart, and it is, in myriad ways, some of the best work the legendary animator has ever created.
    • 41 Metascore
    • 40 Marc Savlov
    Pompeii
    Pompeii delivers the goods – well, at least during its final 20 minutes.
    • 62 Metascore
    • 78 Marc Savlov
    Visitors
    What Reggio’s ultimate point or conclusion might be is, as ever, left up to the viewer for interpretation. And while this is patently not a film that big-box cineplexers are going to rush to in droves, Visitors remains a wondrous work of artistic achievement.
    • 31 Metascore
    • 11 Marc Savlov
    Winter's Tale
    For those who haven’t read the Mark Helprin novel on which Akiva Goldsman’s film is based, prepare to be confused, annoyed, bewildered, and yet more annoyed by the director’s inability to construct even the most basic of narrative fantasy romances.
    • 31 Metascore
    • 40 Marc Savlov
    Vampire Academy
    It’s not a complete disaster, but even the appearance of Gabriel Byrne, as Lissa’s uncle Victor, fails to make much of a dent in the slapdash proceedings.
    • 73 Metascore
    • 89 Marc Savlov
    A Field in England
    In many ways, A Field in England is a funhouse mirror of audience expectations and something of a filmic Rorschach test.
    • 30 Metascore
    • 40 Marc Savlov
    I, Frankenstein
    I, Frankenstein is nowhere near as garishly, ghoulishly awful as "Van Helsing," Universal’s last attempt to resurrect its classic monsters. It’s a grimly fiendish slog nonetheless, and hardly worth getting up out of the grave for.
    • 34 Metascore
    • 40 Marc Savlov
    Devil's Due
    Although a slow-burn approach to this sort of creepfest is generally a smart move, Devil’s Due peters out of outright suspense midway through and never fully recovers, despite (or possibly because of) a final reel that may shock some viewers but will leave die-hard genre fans gnashing their teeth and rending their clothes in dismay.
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