Salon's Scores

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For 3,130 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Wolf of Wall Street
Lowest review score: 0 Event Horizon
Score distribution:
  1. Positive: 1,748 out of 3130
  2. Mixed: 1,003 out of 3130
  3. Negative: 379 out of 3130
3130 movie reviews
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  1. The Valet
    A sunny, cheerful, thoroughly artificial concoction, going nowhere with no particular speed. Still, better than your average airplane movie.
  2. The Italian Job
    The chase scenes in The Italian Job are the most exciting ones I can remember seeing in a movie in a long time, probably because they're the only ones I can remember -- and that's saying something.
  3. Awesome; I Fuckin' Shot That!
    After this movie, the Beasties and their fans, camera-totin' or not, are left drenched, exhausted, delighted.
  4. Protagonist
    A highly original and at times thrilling use of the documentary medium, and one of the most revealing films about the troubled nature of contemporary manhood I've ever seen.
  5. Neighbors
    Just a string of ludicrous excuses to get from one outrageous comedy set-piece to the next.
  6. War Dance
    It's the film's reassuring, almost hypnotic visual rhythms, along with its Hollywood-like narrative structure -- which is closer to "Drumline" or "Bring It On" than to most documentaries -- that make it bearable.
  7. Noah
    There’s so much delusion and so much delight in Noah that I have trouble distinguishing one from the other, or determining whether its most outlandish flourishes qualify as mistakes or as strokes of genius.
  8. Whip It
    Has such a sweet spirit that it's easy enough to let its flaws sail by.
  9. The Good Thief
    This long shot pays off -- in spades. Not only has Jordan made a movie that's looser, hipper, freer and -- abetted by his great cinematographer, Chris Menges -- more sheerly beautiful to look at, he's also made the best movie of his career.
  10. Gladiator
    For all its grandeur, Gladiator is a canned experience, a film that flails around awkwardly trying to find a reason to exist, or at least a compelling story to tell.
  11. Bluebird
    A delicate and affecting drama with grace notes of mystery and redemption.
  12. Forgetting Sarah Marshall
    Forgetting Sarah Marshall follows the Apatow formula faithfully enough. All that's missing is charisma -- the je ne sais quois that makes us fall in love in the first place.
    • 67 Metascore
    • 80 Critic Score
    Summer of Sam
    An urban epic, a noisy, swirling, flawed, hilarious, witty, tender, violent, questionable train wreck.
  14. Snow Angels
    Beckinsale tackles the downscale role manfully, but Rockwell is nearly unrecognizable as the pudgy, suicidally depressed, chronically inept Glenn, who's acting out a half-convincing portrayal of himself as a born-again Christian.
    • 67 Metascore
    • 30 Critic Score
    Thirteen Days
    A thoroughly bland and mediocre movie about the Cuban missile crisis.
  16. Ghosts of the Abyss
    James Cameron disgraces those who died on the Titanic -- again.
  17. Robot and Frank
    Robot & Frank is such a sly, dry, modest-seeming picture – part science fiction, part social satire, part geriatric comedy – that you don't realize how well it works until it's over.
  18. In Bruges
    Dark, hilarious and oddly moving.
    • 67 Metascore
    • 70 Critic Score
    Secret Agent
    Secret Agent is the weirdest movie Hitchcock made: a First World War espionage thriller that lurches between suave levity and sobriety.
  20. Been Rich All My Life
    Been Rich All My Life is something like the "Ballets Russes" of tap dancing. I'm delighted to report that the similarities include the fact that the Belles are transmitting their improvisatory "rhythm tap" style to generations of younger dancers.
  21. Russian Dolls
    As long as Klapisch keeps his characters pinballing each other from one Euro-capital to the next, Russian Dolls remains fun and charming, without ever seeming remotely serious or meaningful.
  22. Bolt
    Bolt is just too knowing; it keeps reminding us, loud and clear, of how culturally savvy it is.
  23. This Is the End
    I enjoyed the hell out of it for a while, but it got irritating and self-congratulatory long before it was over and I desperately do not want to see it again.
  24. The Door in the Floor
    It's nearly impossible to tell whether Williams thought he was making a family tragedy or a sex farce.
  25. Sound of My Voice
    Sound of My Voice has such creepy-crawly, brain-tickling energy that I wanted a much bigger payoff out of the final collision of all these people and episodes. Maybe they're saving that for the sequel.
  26. Fahrenheit 9/11
    Fahrenheit 9/11 is more like a drug experience than a political documentary. It's a mind-bending, half-digested mass of video clips, interviews, statistics, rampant speculation and the cheap gags Moore has never been able to resist.
  27. An Ideal Husband
    It all seems calculated to churn up excitement, a promise that there's lots of dazzle, glamour and intrigue to come. An Ideal Husband actually does deliver all those things, but mostly in a pleasurably understated way -- no need for the noisy signals.
  28. Synecdoche, New York
    Strives to be a work of greatness. But Kaufman's overarching vision is a lot less interesting than the small insights he gathers along the way. This is what happens when life imitates art, and blows it.
    • 67 Metascore
    • 80 Critic Score
    Edge of Seventeen
    From time immemorial, for youths of all orientations, the first few stabs at sex often turn out to be troubling predicaments rather than the romantic events they've imagined, something Edge conveys quite well.
  30. Charlie Wilson's War
    Philip Seymour Hoffman utters one of the year's most refreshing lines in this terrific tale of political wheeling and dealing.
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