Salon's Scores

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:
3130 movie reviews
  1. On one level, this is an altogether obvious lesson about market capitalism.
  2. If you're willing to suspend not just disbelief but also all considerations of logic and intelligence and narrative coherence, it's also a rip-roaring, fun adventure, fatefully balanced between high camp and boyish seriousness at almost every second.
    • 62 Metascore
    • 70 Critic Score
    Faithful to Sagan's brand of popularized science, the film never reaches beyond Hollywood spectacle and sentimentality.
  3. In its own strange way, the tiny, mysterious and occasionally terrifying indie film Felt captures the confusion of this moment in gender relations, and especially the confusion around the term “rape culture.”
  4. The problem with Seitzman's script is how predictable almost all of it feels.
  5. This is a gangly, confusing sprawl, and yet there are enough patches of beauty scattered throughout that it's impossible to reject it wholesale.
  6. This is a brash, lightweight backstage comedy that looks lovely, doesn't insult its audience and uses its stars, both young and old, to terrific effect.
  7. I'm not really sure how strong this material is on its own: I kept trying to imagine what The Oh in Ohio would have been like with other actors in the leading roles, and I couldn't -- Rudd, DeVito and especially Posey seem integral to it.
  8. A romance for the deeply romantic, which means that some people will certainly view it as cynical.
  9. Until Gran Torino starts rumbling headlong toward its tone-deaf, self-serious ending -- the script is by Nick Schenk -- it's often enjoyable, satisfying and funny.
  10. Entertaining in a glossy, mindless way.
  11. The universe of The Dead Girl is an almost uniformly dreary one, whose women are all either dowdy or whorish.
  12. I wish one-tenth of the films I saw were made with this much craft and integrity, this much intuitive understanding of where to put the camera, how much of the story to explain in words (not much) and how much to trust his outstanding cast to carry the film with their voices, faces and bodies.
  13. Has a lot of integrity, both in visual and conceptual terms, and seamlessly blends entertainment and education.
  14. Jolly good fun.
  15. Charles Nelson Reilly is still alive, dammit, and boy does he have a story to tell.
  16. The seventh and last volume in J.K. Rowling's series of best-selling fantasy novels has been split in half for Hollywood purposes, making this long, dour, impressive and handsome motion picture the penultimate chapter, largely designed to build up the heavy-duty suspense before the climax is delivered next year.
  17. After the fundamental problem of Coherence has become clear, or clear-ish – there’s another dinner party, at that other house, that looks an awful lot like this one – the movie becomes slightly too much like an unfolding mathematical puzzle, although an ingenious one that reaches a chilling conclusion.
  18. Investigative journalist Donal MacIntyre's film is fairly standard British TV product, closer to a glorified "60 Minutes" segment then to cinematic art. But never mind -- its subject is, as he might say, feckin' amazing.
  19. I'm being completely sincere - and entirely complimentary! - when I say that The Muppets represents a career high point for Segel, the comedian who reveals himself to be a whimsical writer, capable singer and dancer and appealing straight man.
  20. The Orphanage is a careful, elegant work that looks a little rough around the edges; it was shot largely with natural light and employs minimal special effects.
  21. The picture is sharp, in a warm, fuzzy way, about the ways women can sometimes inflict cruelty on other women in the name of feminism. Feminism doesn't have to be the enemy of kindness, but sometimes -- alarmingly often -- it is.
  22. If you can tolerate watching it once, it will burrow into your brain and never get out again; your only recourse will be dragging your friends into the nightmare and seeing it again.
  23. Duck Season is something quite different, capable of gratifying film snobs and regular viewers alike.
  24. Writer-director Thom Fitzgerald -- his previous feature was "The Hanging Garden" -- has managed to make a comedy about assisted suicide that hardly feels black at all.
  25. John Hillcoat's The Road is an honorable adaptation of a piece of pulp fiction disguised as high art; it a has more directness and more integrity than its source material, the 2006 novel by Cormac McCarthy.
  26. What will likely draw butts into theaters for Friends with Kids isn't one star in particular, but the sum of its comic pieces.
  27. In "Buffalo 66," Gallo was an unfunny prankster. In The Brown Bunny, wearing his heart on his sleeve, he's a real filmmaker.
  28. A charming comedy with a philosophical undercurrent that provides a fascinating glimpse of Jerusalem's ultra-Orthodox Jews, who live in a realm almost literally sealed off from outsiders. But the most remarkable thing about the film is that it exists at all.
  29. After an uninspired middle period, the "Shrek" series has, like the revitalized character himself, roared back to form.

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