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. The 1996 kidnap drama Ransom traverses the parameters of public life in America, from the image public figures present to us to the image they never intended us to see. Neither one tells the whole truth. Luckily, Ransom isn't content with surfaces..
  2. For me, the meticulous style, the fascination with ritualized (and ludicrous) violence and the film-geek self-referentiality all seem like markers of a film made by a young man, for other young men. If I were 23, and full to the brim with dark-hearted existentialism, I might love it too.
  3. The kind of smart, openhearted comedy that doesn't come along every day.
  4. Isn't as uproarious as it pretends to be. The foul language, the constant repetition of words like the aforementioned "boobies" -- look, they've even got me doing it -- doesn't feel daring or cathartic, only canned.
  5. While Keating's agenda is clearly hostile, and Giuliani's political committee is eagerly trying to do counter-propaganda, this isn't a campaign of character assassination or innuendo, but rather a dutifully constructed biographical film about a tremendously skilled prosecutor and politician.
  6. What results is a patchy, uncertain motion picture, full of incidents and images but fundamentally unfocused and superficial.
  7. Above all a cracking good yarn that earns its laughter, its wonder and its tears.
  8. The Incredible Hulk suggests only that we've bottomed out on special effects: They're not necessarily getting better -- they're just getting bigger. Technically, Leterrier's Hulk is as realistic-looking as a rampaging green giant could be. But that doesn't make him credible.
  9. As events in Mr. Jealousy grow more entangled, there is no corresponding escalation in the pace of the movie, and Baumbach misses out on some laughs...But Mr. Jealousy is one of those movies where the less assured passages are a good sign, the mark of a director trying something new.
  10. This is a performance of great subtlety, not a caustic caricature: Rat (Cusack) still believes in something, probably still in some Platonic ideal of poetic possibility.
  11. If Enduring Love doesn't make sense as a thriller, it's equally nonsensical as the parable it wants to be.
  12. Seeing these four actors launching Reza's zingers at each other at high speed is pretty much worth the price of admission all by itself, and one thing you always know about Polanski is that he won't waste your time.
  13. The sex scenes -- intense, affecting and emotionally raw -- are the best thing about this frustratingly limp movie.
  14. Despite the lurid content, this is a beautifully made film that reaches for moral seriousness and resists facile judgments.
  15. Anti-Americanism is a small matter when a movie is anti-human. Dogville is as total a misanthropic vision as anything control freak Stanley Kubrick ever turned out.
  16. For me the breakthrough in At Any Price comes from 59-year-old Dennis Quaid, cementing his character-actor renaissance with what may be the nastiest role of his career.
  17. A lean, clean killing machine that supplies some dark, late-summer thrills and chills and breathes new life into a seemingly extinct franchise.
  18. If Elysium isn’t the post-millennial sci-fi masterpiece I was hoping for, it has tremendous resonance and is pretty doggone good for its category.
  19. Bale gives a remarkable performance in a movie I can recommend to no one, because the sight of him is more distressing than any of the allegedly deep themes of the picture.
  20. Taken on its own terms The Wolverine is the cleanest, least pretentious and most satisfying superhero movie of the summer.
  21. At times, the movie feels less like a coming-of-age tale and more like an extended promo for the Chinese tourism bureau.
  22. Funny People is an ambitious, misshapen picture that feels like two, maybe even three, separate movies uncomfortably jammed into one.
  23. Gandini makes it seem as if the nation of Dante and Fellini has been conquered by "Girls Gone Wild." As hyperbolic cases go, that's a pretty delicious one, but it's not quite true yet.
  24. A trifle but an exceptionally civilized, charming trifle.
  25. The good news is that Alfredson finds his footing in The Girl Who Kicked the Hornet's Nest and delivers a rousing, grueling, almost operatically scaled finale to the series.
    • 60 Metascore
    • 50 Critic Score
    It's a two-hour episode of the show, except with better production values and a nicer wardrobe for Scully.
  26. Perhaps understandably, these artifacts of a vastly different ideological and economic era -- have become kitsch objects, the focus of a half-horrified nostalgia, in the midst of the feverish Chinese boom.
  27. The picture starts off slick and amusing, gets convoluted, draggy and strange round about the midway point, and ends up just plain ludicrous.
  28. In his dazzling and luxuriant new thriller Femme Fatale, De Palma turns trash into chic. It's a sexy, violent, glamorous, sinfully funny movie with a surface as hard and brilliant as diamonds.
  29. But if the storytelling is murky, the filmmaking is stunning and, more important, the passion for this city -- its people and landscape -- is pure.

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